NEWS: 2, 2008 Filmbay Launches the First Online Film Marketplace & Self Distribution System Filmbay, Ltd. (Cd/b/a Filmbay), with the URL www.Filmbay.com, announces the launch of the first Internet marketplace for worldwide buyers and sellers to search and option feature motion pictures, short films, documentaries, music videos, music, screenplays and more. In addition, filmmakers, sound composers and others can sell their titles individually as DVD, CD or other formats via an online shop and auction. Never before has the global film industry had a centralized online marketplace, communications centre, distribution outlet and community in one website. As a result, the independent film industry was once scattered all over the world. Writers, Actors, Directors, Music Composers had been separated not only geographically by country, but even more so by being represented by a guild, union, or agent which often imposed limits on their ability to engage in independent film production worldwide. Filmbay erases these limits. The idea of creating such this important Internet venue originated with Filmbay's founder and President, John Paul Trutnau, and his personal assessment of the current global film marketing process: “I was tired of always hearing the same complaints from filmmakers, actors, writers and other artists of not being able to find true global representation for their work and for themselves.” says John-Paul. “The Internet offers a unique way to unite people from all over the world in one media platform and create a global market place.” It took over 3 years to develop and fine tune the Filmbay concept and website. “Filmbay is similar to a Hollywood Studio, minus the hierarchies, but offers better opportunities for directors and producers to showcase, distribute and sell their products. Jorn Ross, a university graduate and computer programmer, as well as Sanka Abeysinghe, a graphic and web designer, assisted Trutnau in making his project come alive. And now Filmbay allows buyers and sellers of film, as well as general consumers who are interested in new and independent cinematic products, to come together in a unique and innovative setting. The website also enables global communication among all members who are actively involved in the process of making a film. In this way, Filmbay becomes a one-stop shop for the global independent film community. It even features a Pitch Area where new projects are presented to this highly dynamic film community who are looking to get involved. Is Filmbay only for filmmakers? “Not at all, Filmbay is open to all creative aspects that relate to film, so for example a music composer or rock band can sell their own CD on our site, without a big label behind it.” Additionally, academics can publish their work, e.g. an essay, M.A. or PhD Thesis related to media studies. All Filmbay members can post their bio and Showcase, even sell their work online. Job Forums, Classifieds and filmmaking tips are also available. “Film Creation and Film Consumption should be fun, if possible. Nowadays the hierarchies among the film production teams are shifting – that is what our website is all about: to offer your services to each other on an open platform.” By uniting all creative forces on one platform there are so many new opportunities to communicate and collaborate. And since Filmbay is always online, it provides a 24/7 platform for the independent film community to come together, exchange, collaborate and communicate, as well as buy and sell films, scripts, music and more. For more information, visit Filmbay at: www.filmbay.com AP2 02602 Reuters 3-20163 k3671

1er janvier 2008 Filmbay lance la première plateforme de commerce électronique pour la vente et l’auto-distribution de films. Filmbay, Ltd. (Cd/b/a Filmbay), avec l'URL www.Filmbay.com, annonce le lancement de la première place commerciale sur Internet qui permettra aux acheteurs et vendeurs du monde entier d’identifier et de prendre des options sur des long-métrages, des court-métrages, des documentaires, des clips vidéo, de la musique, des scénarios et plus encore. Qui plus est, les réalisateurs, les compositeurs, etc., peuvent mettre en vente leurs oeuvres individuellement sous forme de DVD, CD ou autres formats par l'intermédiaire d'un magasin virtuel et un système d'enchères. Jamais auparavant l'industrie mondiale du film n'avait eu une place commerciale, un centre de communication, de distribution au détail et pour la communauté, centralisé, en ligne, dans un seul site web. En conséquence, l'indépendante industrie du film fut un temps éparpillée dans le monde entier. Les écrivains, les acteurs, les directeurs, les compositeurs de musique étaient éloignés non seulement géographiquement par pays, mais beaucoup plus du fait qu'ils étaient représentés par une guilde, un syndicat ou un agent qui impose souvent des limites sur leur possibilité de s'engager dans la production de film indépendant dans le monde entier. Filmbay efface ces limites. L'idée de créer un lieu si important dans Internet est née quand le fondateur et président de Filmbay, John Paul Trutnau, eut évalué le processus mondial actuel de commercialisation de films : « J'étais las d'entendre toujours les mêmes plaintes des réalisateurs,des acteurs, des écrivains et d'autres artistes qui n'arrivaient pas è trouver de vrais représentants à niveau mondial pour leur travail et pour eux-mêmes.” affirme John-Paul. « Internet offre une moyen unique pour réunir les gens du monde entier sur une plateforme médiatique et créer une place commerciale mondiale ». Il fallut trois ans pour développer et mettre au point le concept et le site web de Filmbay. « Filmbay est semblable à un studio de Hollywood, exception faite des hiérarchies, mais offre de meilleures opportunités aux directeurs et aux producteurs pour exposer, distribuer et vendre leurs produits ». Jorn Ross, un programmeur informatique diplômé de l'université, ainsi que Sanka Abeysinghe, créateur graphique de sites web, ont assisté Trutnau dans la réalisation de son projet. Et maintenant Filmbay permet aux acheteurs et vendeurs de films, ainsi qu'aux consommateurs en général qui sont intéressés par de nouveaux produits de cinéma indépendant, de se réunir dans une structure unique et innovante. Le site web permet également la communication à échelle mondiale de tous les membres qui sont activement impliqués dans le processus de la production d'un film. De cette façon, Filmbay devient un point de vente unique pour la communauté mondiale du film indépendant. Il arbore même un espace où de nouveaux projets sont présentés à cette communauté dynamique du film qui cherche à s'impliquer. Est-ce que Filmbay est réservé aux réalisateurs ? “Pas du tout, Filmbay est ouvert à tous les aspects créatifs ayant trait au film, par exemple un compositeur de musique ou un groupe de rock peut vendre son propre CD sur notre site, sans une grosse maison de production derrière.“ De plus, les universitaires peuvent publier leu travail, par exemple un essai ou une thèse universitaire en rapport avec les études des média. Tous les membres de Filmbay peuvent publier leur biographie et leur présentation, voire même vendre leur travail en ligne. Des forums de travail, des petites annonces et des astuces pour faire des films sont également disponibles. “La création et la consommation de films devraient être amusantes, si possible. De nos jours, les hiérarchies dans les équipes de production de films sont en train de changer – c'est ce que notre site web traite : proposer des échanges mutuels de services sur une plateforme ouverte.” En unissant toutes les forces créatives sur une plateforme il y a tellement de nouvelles occasions de communiquer et de collaborer. Et comme Filmbay est toujours en ligne, il fournit une plateforme sept jours sur sept, 24 heures par jour, à la communauté du film indépendant pour qu'elle se réunisse, échange, collabore et communique, pouvant également acheter et vendre des films, des scénarios, de la musique et plus encore. Pour de plus amples renseignements, visitez Filmbay à www.filmbay.com AP2 02604 Reuters 3-20167 France2 003075 m25 FR1

rimo Gennaio 2008: La Filmbay lancia il Primo Mercato del Cinema Online oltre ad un Sistema di Auto Distribuzione Professionale. La Filmbay, Ltd. (Cd/b/a Filmbay), con l’indirizzo URL HYPERLINK "http://www.filmbay.com" www.filmbay.com annuncia il lancio del primo mercato su Internet per acquirenti e venditori internazionali per la ricerca di anteprime cinematografiche, film corti, documentari, video musicali, musica, sceneggiature ed altro. Inoltre, registi, compositori musicali ed altri possono vendere i loro titoli singolarmente cosi’ come DVD, CD od altri formati attraverso la vendita o l’asta online. L’industria cinematografica mondiale non ha mai avuto prima un mercato centralizzato online, un centro per le comunicazioni, una casa di distribuzione ed una comunita’, tutto in un solo sito internet. Di conseguenza, l’industria cinematografica indipendente era una volta frammentata in tutto il mondo. Scrittori, Attori, Registi, Compositori Musicali sono stati separati non solo geograficamente, per nazioni, ma anche e soprattutto venendo rappresentati da sindacati, o agenti, che spesso imponevano limiti alle loro possibilita’ di partecipare a produzioni per film indipendenti internazionali. La Filmbay annulla questi limiti. L’idea di creare una struttura cosi’ importante su internet nasce dal Fondatore e Presidente della Filmbay, John Paul Trutnau, e la sua conoscenza personale del processo corrente del global film marketing: “Ero stanco di sentire le stesse lamentele dai registi, attori, scrittori ed altri artisti di non riuscire a trovare una vera rappresentazione globale per i loro progetti e per loro stessi” dice John-Paul. Jorn Ross, laureato e programmatore informatico, insieme a Sanka Abeysinghe, un grafico e disegnatore per web, aiutano il Sig. Trutnau a fare diventare questo progetto attivo. E adesso Filmbay permette ad acquirenti e venditori di film, come consumatori, i quali sono interessati a prodotti cinematografici nuovi, ad amalgamarsi in un ambiente unico ed innovativo. Il sito apre le porte anche alla comunicazione globale tra tutti i membri che sono coinvolti attivamente nel processo della produzione di film. In questo modo, Filmbay diventa una singola fermata per la comunita’ indipendente cinematografica. Mostra anche uno spazio per un Idea od un Soggetto dove vengono presentati nuovi progetti cosi’ che con un semplice sguardo, tutti possono essere coinvolti in questa comunita’ estremamente dinamica e professionale. Inoltre, accademici possono pubblicare i loro lavori – ad esempio, un saggio – od una tesi di laurea in studi di Media. Tutti i membri di Filmbay possono pubblicare la loro biografia od i loro lavori online. Job Forums, Annunci e suggerimenti sul cinema sono disponibili. E visto che Filmbay e’ sempre online, provvede una piattaforma 24 ore al giorno, 7 giorni su 7, cosi’ che la comunita’ cinematografica indipendente puo’ unirsi, scambiare, collaborare e comunicare, oltre ad acquistare e vendere i loro film, scenggiature, music con un semplice tocco di mouse. Per informazioni, visitate Filmbay all’indirizzo: www.filmbay.com Contact: Contattate Italiano: Michele Francini Rappresentante di Publiche Relazioni AP2 02613 Reuters 3-20128 mm013ITA4

Fecha: 1 de enero de 2007 Filmbay Lanza el Primer Mercado Cinematográfico & Sistema de Distribución Propio de Películas En Línea Filmbay, Ltd (Cd/b/a Filmbay), cuya URL es www.Filmbay.com, anuncia el lanzamiento del primer mercado en Internet para que los compradores y vendedores de todo el mundo puedan buscar y seleccionar largometrajes, cortometrajes, documentales, videos musicales, música, guiones cinematográficos y mucho más. Además, los cineastas, compositores de música y otros pueden vender sus títulos individualmente en forma de DVD, CD y otros formatos a través de una tienda en línea y de subastas. Por primera vez la industria cinematográfica mundial cuenta con un mercado en línea centralizado, un centro de comunicaciones, un centro de distribución y una comunidad, todo en un solo sitio web. Antes de esto, la industria cinematográfica independiente se hallaba desparramada por todo el mundo. Los Escritores, Actores, Directores, Compositores de Música habían estado separados, no sólo geográficamente por país, sino también por contar con la representación de una comunidad, unión o agente, los cuales a menudo imponían ciertos límites a la posibilidad de involucrarse en una producción cinematográfica independiente a nivel mundial. Filmbay borra esos límites. La idea de crear un lugar de reunión de esta importancia en la Internet se originó gracias al fundador y Presidente de Filmbay, John Paul Trutnau, y a su valoración personal del proceso global de marketing de películas: “Estaba cansado de escuchar siempre las mismas quejas de parte de los cineastas, actores, escritores y otros artistas respecto de no poder encontrar algo que verdaderamente los pudiera representar, a ellos y a su trabajo, en forma global.” afirma John-Paul. “La Internet ofrece una manera única de unir a personas de todo el mundo en una plataforma de medios y crear un mercado global.” Llevó más de 3 años desarrollar y ajustar el concepto y el sitio web de Filmbay. “Filmbay es similar a un Estudio de Hollywood, sin considerar las jerarquías, pero ofrece mejores oportunidades para que los directores y productores puedan exhibir, distribuir y vender sus productos. Jorn Ross, un graduado universitario y programador de computadoras, junto con Sanka Abeysinghe, una diseñadora gráfica y web, fueron quienes asistieron a Trutnau para poder darle vida a este proyecto. Y ahora Filmbay permite que los compradores y vendedores de películas, como así también todas aquellas personas que tengan interés en productos cinematográficos independientes, puedan reunirse en un lugar único e innovador. El sitio web también permite una comunicación global entre todos los miembros que se encuentran activamente involucrados en el proceso de realización de una película. De esta manera, Filmbay se convierte en un lugar en el que la comunidad del cine independiente puede encontrar todo lo que necesita. Incluso posee un Área de Presentación en la cual se muestran nuevos proyectos a esta comunidad cinematográfica sumamente dinámica que desea participar e involucrarse. Pero … ¿Filmbay es sólo para cineastas? “De ninguna manera, Filmbay está abierto a todos los aspectos creativos que se relacionan con el cine. Así, un compositor de música o una banda de rock, por ejemplo, pueden vender su propio CD en nuestro sitio, sin necesitar que un gran sello discográfico los apoye”. Además, los académicos pueden publicar sus trabajos relacionados con el estudio de los medios de comunicación, como por ejemplo un ensayo, una tesis de Maestría o una tesis de Doctorado. Todos los miembros de Filmbay pueden enviar sus biografías como una forma de mostrarse, e incluso vender su trabajo en línea. También se encuentran disponibles los Foros sobre Trabajos, Anuncios Clasificados y consejos sobre cómo filmar. “La Creación de películas y el Consumo de Películas debería ser divertido, en la medida de lo posible. Hoy en día, las jerarquías dentro de los equipos de producción están cambiando; ese es el tema principal de nuestro sitio web: ofrecernos servicios mutuamente en una plataforma abierta.” De esta manera surgen nuevas oportunidades de comunicarse y colaborar ya que se unen todas las fuerzas creativas en una sola plataforma. Y debido a que Filmbay siempre se encuentra en línea, se brinda una plataforma las 24 horas del día, los 7 días de la semana para que toda la comunidad cinematográfica independiente pueda reunirse, intercambiar, colaborar y comunicarse; como así también comprar y vender películas, guiones, música y mucho más. Para más información, visite Filmbay en www.filmbay.com AP2 02609 Reuters 3-20172 El Mundo 2231830 m13 n b6 news3

Data: 1 de Janeiro de 2008

Filmbay lança o primeiro sistema electrónico de comercialização de filmes e de distribuição própria

A Filmbay Ltd. (Cd/b/a Filmbay), com o endereço Internet (URL) www.Filmbay.com, anuncia o lançamento do primeiro mercado electrónico que permite aos compradores e fornecedores de todo o mundo pesquisarem e reservarem direitos sobre filmes, curtas-metragens, documentários, vídeos musicais, música, argumentos e muito mais. Por outro lado, o sistema permitirá que cineastas e compositores musicais, entre outros, possam vender ou leiloar os seus títulos individualmente em DVD, CD ou outros formatos através de uma loja virtual.

Até aqui, a indústria cinematográfica global nunca tinha conseguido centralizar um mercado electrónico, um centro de comunicação e de distribuição e uma comunidade de utilizadores num único site. Como resultado, a indústria cinematográfica independente encontrava-se fragmentada um pouco por todo o mundo. Os argumentistas, os actores, os realizadores e os compositores musicais viviam isolados não somente por barreira geográficas, mas principalmente pelo facto de se encontrarem representados por associações, sindicatos ou agentes que, muitas vezes, lhes limitavam a possibilidade de se envolverem em produções cinematográficas independentes noutros países do mundo. A Filmbay põe fim a estes limites. A ideia de criar um ponto de encontro na Internet de tal importância partiu do fundador e presidente da Filmbay, John Paul Trutnau, na sequência da sua avaliação pessoal do actual processo global de comercialização de filmes:

“Estava cansado de ouvir sempre as mesmas queixas dos realizadores, dos actores, dos argumentistas e de outros artistas que não conseguiam atingir uma verdadeira representação deles próprios e do seu trabalho a uma escala global”, afirma John-Paul.

“A Internet proporciona uma forma única de unir pessoas de todo o mundo numa plataforma de media e de criar um mercado global”. O processo de desenvolvimento e afinação do conceito Filmbay e do site que o suporta demorou três anos. “A Filmbay assemelha-se a um estúdio de Hollywood, mas sem as respectivas hierarquias, oferecendo melhores oportunidades aos realizadores e produtores de apresentarem, distribuírem e comercializarem os seus produtos”.

Jorn Ross, programador informático com um curso superior, e Sanka Abeysinghe, designer gráfica e de sites Internet, ajudaram Trutnau a concretizar este projecto. Agora a Filmbay permite aos compradores e vendedores de filmes, assim como aos consumidores em geral que se interessam por produtos cinematográficos novos e independentes, reunirem-se num ambiente único e inovador.

O site permite também a comunicação global entre todos os membros que estejam activamente envolvidos no processo de elaboração de um filme. Deste modo, a Filmbay converte-se numa “one-stop shop” para a comunidade global de cineastas independentes. O site contém até uma área de descoberta de novos talentos onde projectos em busca de reconhecimento podem ser apresentados a uma comunidade cinematográfica altamente dinâmica.

Mas a Filmbay destina-se apenas a realizadores e produtores de filmes? “Nada disso, a Filmbay abarca todos os aspectos criativos que envolvem um filme. Um compositor musical ou uma banda de rock, por exemplo, podem vender o seu CD no nosso site, sem necessidade de apoio de uma grande editora discográfica”.

Por outro lado, os académicos podem publicar os seus trabalhos, nomeadamente ensaios, trabalhos de mestrado ou teses de doutoramento relacionados com o estudo dos meios de comunicação. Todos os membros da Filmbay podem inserir os seus currículos e amostras dos seus trabalhos e, até, comercializar as suas criações pela Internet. Estão também disponíveis fóruns de emprego, anúncios classificados e dicas de produção e realização.

“A criação e o consumo de filmes devem ser processos divertidos, sempre que possível. Hoje em dia, as hierarquias existentes entre os membros das equipas de produção cinematográfica estão a alterar-se – e é precisamente isso que inspira o nosso site: oferecer um intercâmbio de serviços numa plataforma aberta”. A concentração de todas as forças criativas numa única plataforma abre inúmeras novas oportunidades de comunicação e de colaboração.

E como a Filmbay está sempre online, proporciona uma plataforma disponível 24 horas por dia, sete dias por semana, que permite que a comunidade de produtores de filmes independentes se reúna, troque ideias, colabore e comunique, possibilitando simultaneamente a compra e venda de filmes, guiões e música, entre outros artigos.

Para mais informações, visite a Filmbay, em


www.Filmbay.com



Contacto:
Maria Colar
Responsável de Relações Públicas

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Filmbay が世界初のオンライン映画マーケットプレイス・個人配信システムに乗り出す。

Filmbay, Ltd. (www.filmbay.com〉は世界中のフィーチャーフィルム、ショートフィルム、ドキュメンタリーフィルム、ミュージックビデオ、音楽、映画のシナリオなどの売り手や買い手に対してインターネットマーケットプレイスの開始を発表する。更に、映画制作者や作曲家などは作品をDVDやCDなどにしてオンラインショップとオークションページから販売することができる。

世界の映画産業市場、コミュニケーションセンター、配信支店、コミュニティーを統一したものは今までなく、作家、俳優、監督、作曲家はそれぞれがばらばらになっている。地理的に離れているという問題は言うまでもないが、その上、組合やエージェントに押し付けられた制限によっても映画産業のメンバーたちは自由に個人的な政策を実行することはできなかった。Filmbayはそのような制限を取り払う。

このような重要なインターネットサイトは創設者で、現社長のJohn Paul Trutnauの現在の国際的なフィルムマーケティングプロセスを個人的な評価によって考案された。
「私はフィルムメーカー、俳優、作家、その他の芸術家たちからの彼らの仕事、そして彼ら自身への本来の国際的な表現を見つけることができないと言う同じ不満を聞くのにうんざりだった。」と彼は言う。

TrutnauはコンピュータープログラマーのJorn Ross、グラフィックウェブデザイナーのSanka Abeysingheの助けを得て、彼のプロジェクトを現実にすることができた。そして今、Filmbayは映画の買い手、売り手に加えて、新しいインディーズに興味のある一般の消費者が独特で刷新的な環境で一つになれることを可能にする。

このウェブサイトは活発に映画の製作に参加するすべての人々の間で世界的なコミュニケーションを可能にする。これによってFilmbayはインディーズ映画産業のOne-stop shopになる。その特徴の一つにピッチエリアというのがある。新しい計画をこの高度でダイナミックな映画コミュニティーに発表し、参加したい相手を探すことができる。

さらに、メディアの研究についてのエッセーや修士号や博士号のための論文の出版、Filmbay会員の自己紹介や作品紹介、公開討論、案内広告、映画製作のヒントなども得ることができる。

Filmbayは365日、24時間、インディーズ映画コミュニティーのための情報交換、コラボレートを提供し、映画・脚本・音楽などの売買が可能である。

詳しくは www.filmbay.com を訪れてください。

連絡先：
Yori Shiro
Public Relations Representative

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Data: 1 stycznia 2008

Filmbay uruchamia Pierwszą Internetową Platformę Rynku Filmowego i Dystrybucji Własnych Produkcji

Filmbay, Ltd. (Cd/b/a Filmbay), http://www.Filmbay.com zawiadamia o uruchomieniu pierwszego internetowego rynku dla kupujących i sprzedających na całym świecie, umożliwiającego wyszukiwanie filmów pełnometrażowych, krótkometrażowych,
dokumentalnych i teledysków, a także muzyki, scenariuszy itd., oraz nabywanie praw do nich. Nasz system pozwala też filmowcom, kompozytorom ścieżek dźwiękowych i innym autorom na sprzedaż własnych produkcji w różnych formatach (DVD, CD i innych) za pośrednictwem sklepu i aukcji internetowej.

Nigdy wcześniej światowy przemysł filmowy nie dysponował scentralizowanym rynkiem internetowym, ośrodkiem komunikacji, miejscem dystrybucji i społecznością skonsolidowaną wokół jednej witryny internetowej. W konsekwencji niezależny przemysł filmowy był rozproszony na całym globie. Pisarze, aktorzy, reżyserzy i kompozytorzy byli
rozdzieleni przez granice państw i ograniczani przez reprezentujące ich podmioty (stowarzyszenia, związki lub agentów), często uniemożliwiające im angażowanie się w niezależne produkcje filmowe w różnych krajach. Filmbay znosi te bariery. John-Paul Trutnau, prezes i założyciel firmy Filmbay, wpadł na pomysł stworzenia tak ważnej platformy w Internecie po przeanalizowaniu dominującego w świecie filmu procesu marketingowego.

“Męczyło mnie ciągłe wysłuchiwanie skarg filmowców, aktorów, scenarzystów i innych twórców, cierpiących na brak możliwości zaprezentowania swojej pracy i siebie samych w skali globalnej” – wyznaje John-Paul.

“Internet oferuje wyjątkową szansę na zjednoczenie osób z całego świata wokół jednej platformy medialnej i zapewnienie im ogólnoświatowego rynku.” Stworzenie i dopracowanie koncepcji witryny internetowej Filmbay zabrało 3 lata. „Filmbay pełni podobną rolę jak Hollywood Studio, ale jest pozbawiona hierarchii, a reżyserzy i producenci otrzymują większą możliwość prezentacji, dystrybucji i sprzedaży swoich produkcji.


W realizacji projektu Trutnauowi pomagały Jorn Ross, absolwentka uniwersytetu i programista komputerowy, oraz Sanka Abeysinghe, grafik i projektant stron internetowych. Filmbay to nowatorskie miejsce spotkań osób sprzedających i kupujących filmy oraz widzów zainteresowanych nowymi dziełami niezależnej kinematografii.

Witryna umożliwia globalną komunikację wszystkich osób zaangażowanych w proces realizacji filmu, a zatem pełni rolę ośrodka integrującego niezależną społeczność filmową na całym świecie. Przewidziano w niej miejsce do prezentacji nowych projektów niezwykle dynamicznej społeczności filmowej, która poszukuje możliwości współpracy.

Czy Filmbay jest tylko dla filmowców? „Absolutnie nie. Filmbay jest otwarta na wszelkie przejawy twórczości związanej z filmem. Kompozytor muzyki filmowej albo grupa rockowa może tu sprzedawać swoje płyty bez udziału wielkich wytwórni płytowych.”

Naukowcy i studenci mogą tu publikować swoje dzieła - eseje, prace dyplomowe i doktorskie
poświęcone mediom. Wszyscy użytkownicy witryny Filmbay mogą nie tylko zamieścić w niej życiorys i prezentację swoich osiągnięć, ale także sprzedawać swoje produkcje on-line. Pomyślano też o forach dla pracodawców i pracowników, ogłoszeniach drobnych i kąciku
porad dla filmowców.

“Praca nad filmem i jego oglądanie powinny być dobrą zabawą. W dzisiejszym świecie obserwujemy odchodzenie od hierarchii zespołów filmowych, a nasza witryna stanowi odpowiedź na tę nową sytuację, gdyż pomaga społeczności we wzajemnym oferowaniu sobie usług na otwartej platformie.” Dzięki skupieniu sił twórczych powstaje wiele nowych możliwości komunikacji i współpracy.

Filmbay to miejsce spotkań, wymiany, współpracy i komunikacji niezależnego środowiska filmowego, otwartym przez 24 godziny i siedem dni w tygodniu.

Można tu też kupować i sprzedawać filmy, scenariusze, muzykę i nie tylko.

Więcej informacji w witrynie Filmbay

www.Filmbay.com

Kontakt:
Borys Augustyn
Specjalista ds. Public Relations

AP2 02607
Reuters 3-20294

1 января 2008

Компания Filmbay открывает первый кинематографический интернет-рынок с собственной системой самопроката.

Компания Filmbay, Ltd. (Cd/b/a Filmbay), www.Filmbay.com, объявляет об открытии первого всемирного интернет-рынка, где покупатели и продавцы смогут искать и приобретать полнометражные, короткометражные и документальные фильмы, а также музыкальную видеопродукцию, музыку, художественные фильмы и многое другое. Кроме того, с помощью нашего интернет-магазина и аукциона создатели фильмов, композиторы и другие участники творческого процесса смогут продавать свою продукцию в DVD, CD и других форматах.

Никогда еще всемирная киноиндустрия не имела единого централизованного интернет-рынка с собственным информационным центром, онлайновыми точками сбыта и внутренней системой общения в рамках одного вебсайта! До сих пор независимая киноиндустрия была рассеяна по всему миру. Сценаристов, актеров, режиссеров и композиторов разделяла не только география, но и тот факт, что их интересы представляли различные гильдии, союзы и агенты, деятельность которых часто налагала ограничения на их способность заниматься созданием кинофильмов в масштабах всего мира. Filmbay устраняет эти ограничения. Идея создания подобного интернет-центра принадлежит основателю и президенту компании Filmbay Джону Полу Тратнау (John Paul Trutnau), который провел собственное, независимое исследование процесса сбыта кинопродукции на мировом рынке в текущих условиях.

«Я устал выслушивать бесконечные жалобы со стороны кинопродюсеров, актеров, сценаристов и других специалистов, сетующих на то, что ни их продукция, ни они сами не могут быть достойным образом представлены на мировом рынке», – говорит Джон Пол.

«Интернет дает уникальную возможность создания единой медиа-платформы, которая способна соединить работников киноиндустрии всего мира и открыть для них мировые рынки». На разработку общей концепции компании Filmbay и ее вебсайта потребовалось более трех лет. «Filmbay – это аналог голливудской киностудии, но без бюрократических иерархий; именно поэтому у режиссеров и продюсеров появляется больше возможностей для рекламы, распределения и сбыта своей продукции.

В подготовке и создании этого проекта Джону Полу Тратнау помогали Джейми Эскобар (Jorn Ross), программист с университетским образованием, и Сэнка Абейсингх (Sanka Abeysinghe), дизайнер и оформитель Web-страниц. Сегодня Filmbay предоставляет покупателям и продавцам кинофильмов, а также любым другим лицам, заинтересованным в новых независимых продуктах киноиндустрии, возможность встретиться в уникальной и творческой обстановке.

Кроме того, на вебсайте созданы условия для установления контактов между всеми его членами, занятыми в кинопромышленности и живущими в разных концах света. Таким образом, продюсеры и потребители кинопродукции смогут найти на вебсайте Filmbay все, что их интересует. На сайте есть свой медиа-магазин, посещаемый кинолюбителями всего мира, где продавцы смогут выставить свои товары на продажу.

Вместе с тем вебсайт Filmbay ориентирован не только на кинопродюсеров. «Наш сайт открыт для всех, кто хоть как-то участвует в процессе создания кинофильмов: например, композиторы или музыкальные группы, не имеющие громкого имени, могут продавать здесь свои CD».

Ученые, занимающиеся медиа-исследованиями, смогут публиковать на сайте свои работы и диссертации. Кроме того, все члены Filmbay получат возможность размещать на сайте свою личную информацию и информацию о своих товарах с целью продажи. Также на сайте представлены форумы по теме «работа», доска объявлений и страничка советов по созданию кинофильмов.

«Насколько это возможно, создание и потребление кинофильмов должно приносить радость и удовлетворение. Сегодня иерархии в мире кинопродюсеров претерпевают значительные изменения, и наш сайт создан специально для того, чтобы вы смогли свободно и беспрепятственно предлагать друг другу свои услуги». Объединив все творческие усилия в рамках единой глобальной сети, мы получим множество новых возможностей для общения и сотрудничества.

Поскольку сайт Filmbay функционирует круглосуточно, семь дней в неделю, независимые кинопромышленники и кинолюбители смогут общаться, обмениваться опытом, сотрудничать, продавать и покупать фильмы, сценарии, музыку и много другое с единой платформы.

Дополнительную информацию вы можете получить на сайте

www.Filmbay.com



Контактный адрес:

Sasha Volkov

ITAR0040583 vv4

日期:2008年1月1日

布拉斯媒体发布世界上第一个在线电影市场和自行发布交易系统

布拉斯媒体（“Filmbay”）有限公司（简称“布拉斯媒体”），互联网站为 www.Filmbay.com 发布第一个互联网络市场平台，为全世界的买家和卖家提供搜索和选择电影、短片、纪录片、可视歌曲、音乐、剧本及其他的（相关服务）。另外，电影制作人，音乐作曲家和其他电影艺术家可以在这里独立对其作品以DVD，CD或其他形式在网上进行销售和拍卖

在此之前，全球的电影产业并没有一个集网上交易市场，交流中心，分销点和社区为一体的单一网站。因此，各个独立的电影产业在以前是分散于世界各地。剧作家，演员，导演，作曲家不仅在地理上分散于各个不同的国家，而且因为其各属于不同的协会、工会或代理商并经常受到来自它们的限制，而不能在全世界范围内独立进行电影生产和制作活动。 布拉斯媒体消除了这些限制。创立这个重要的互联网平台的构思来自于布拉斯媒体的创建人和主席，约翰·保罗·楚诺先生（John Paul Trutnau）并基于他个人对目前全球电影销售体系的评估。
“我对经常听到来自于制片人、演员、作家和其他艺术家的相同的关于没有办法为他们的作品找到真正的全球性的代理的埋怨感到厌烦。” 约翰·保罗说。

“互联网为来自于全世界的人们联合起来提供了一种独特的媒介平台和创造了全球性的交易市场。” 发展和完善布拉斯媒体这个概念和网站共花费了超过3年多的时间。 “布拉斯媒体与好莱坞的工作室一样的功能，但是减少了其层级网络，并同时为导演和制片人展现、发布和销售其作品提供了更多更好的机会。”吉米·爱科巴（Jorn Ross），一位大学毕业生以及计算机程序员，以及尚可·爱倍新何（，一位图形和网络设计员，协助楚诺先生使这个项目成为现实。从现在起，布拉斯媒体可以令电影的买家和卖家，以及那些对新型和独立电影作品的普通消费者在布拉斯媒体这一独特和革新的平台下走到了一起。

该网站使全世界所有参与电影行业的成员有机会进行全球性的交流。通过这种方式，布拉斯媒体成为全球独立电影社群的“一站式”平台。它还提供了了一个“投标区”，新的项目将在那里向那些急切希望参与到项目里来的极其活跃的社群成员中进行展示。

布拉斯媒体是不是仅为电影制片人服务？“完全不是，布拉斯媒体是向所有与电影相关的艺术创作开放，所以，比如，一位音乐作曲家或摇滚乐队也可以通过我们的网站销售他们的CD，尽管这些作曲家或乐队并不是很出名。”

另外，学术界也可以在这里发表他们的作品，比如，一篇与媒体研究有关的硕士或博士论文。所有布拉斯媒体的成员可以公布他们的简历和代表作，甚至可以对他们的作品进行网上销售。本网站还设有工作论坛、分类广告和电影制作经验
等栏目。

“如果可能的话，电影创作和电影消费应该是充满快乐的过程。当今社会，电影制作队伍的层级结构已经发生改变 – 这就是我们的网站的主题：为你以及彼此的服务提供一个公开交流的平台。” 通过把所有不同的艺术创造的力量集中到一个单一的平台上，将会衍生出许多交流和合作的新机会。

并且，因为布拉斯媒体是网上平台，它将会24小时，7个工作日地为独立电影社群提供交流、交换、合作和沟通，以及电影、剧本、音乐和其他作品买卖的相关服务。如需要得到更多的信息，请浏览布拉斯媒体的页面：

www.filmbay.com



www.Filmbay.com
。联系人：
Yun Chen Ling
尚可·爱倍新何（公共关系代表

AP5 02604
Reuters 3-20139 5

Pressemitteilung 01/08

Filmbay eroeffnet den ersten weltweiten online Filmmarktplatz

Filmbay Ltd. (Toronto, Canada) gibt heute unter der URL www.Filmbay.com den offiziellen Launch ihrer Website, als ersten Internet Handelsplatz der Independent-Szene für Spielfilme und Musik bekannt. Filmbay bringt Käufer und Verkäufer für den Rechterwerb von Spielfilmen, Kurzfilmen, Musik und Drehbüchern zusammen. Zusätzlich können Produzenten, Filmemacher, Musiker und Bands ihre Titel als DVD, CD oder digitalem Download in einem Internet-Shop Kunden aus aller Welt anbieten.


Ein Novum für die Filmindustrie ist die Kombination aus zentralisiertem Marktplatz, Kommunikationsplatform, Verteilersystem und Community. War die Independent-Szene bislang global und vor allem durch Agenturen, Gilden und andere Organisationen getrennt, so ist dies jetzt passé – es entsteht eine neuartige Form der Kollaboration mit nahezu unbegrenzten Möglichkeiten. Die Idee für diese Platform kam Filmbay Gründer und Geschäftsführer, John-Paul Trutnau, aufgrund der bis dato bestehenden unzureichenden Zustände im globalen Musik- und Filmmarketing: „Ich hatte genug der immerwährenden Beschwerden von Filmemachern, Darstellern, Drehbuchautoren und Musikern nicht in der Lage zu sein eine echte globale Repräsentanz für ihre Arbeit und Schöpfungen zu finden“, so Trutnau. „Das Internet bietet eine einzigartige Möglichkeit Kreative aus der ganzen Welt auf einer Medienplatform mit eigenem Marktplatz zu vereinen.“


Es dauerte drei Jahre das Konzept und die Webseite für Filmbay zu entwickeln - Trutnau hierzu: „Filmbay ähnelt einem traditionellen Hollywood-Studio, aber ohne die Hierarchien und bietet somit neuen Regisseuren und Produzenten die Möglichkeit ihre Werke zu zeigen, zu verkaufen und zu vertreiben.“ Programmierer Jörn Ross, und Webdesigner Sanka Abeysinghe, halfen maßgeblich das Filmbay Projekt zu verwirklichen. Kunden und Konsumenten haben nun Zugang zu Content aus der ganzen Welt und können von diversen Anbietern der Independent-Szene direkt kaufen. Die Webseite ermöglicht außerdem globale Kommunikation zwischen allen Gliedern der Wertschöpfungskette Film, Musik und Kunst. Es ist sogar möglich, neue Projekte in der Konzeptionsphase, mit Video, vorzustellen.

Filmbay ist aber nicht nur für Filmemacher - Filmbay ist allen Kreativen offen – so können zum Beispiel Musiker oder eine Band ihre neueste CD direkt online vertreiben, ohne ein Label haben zu müssen. Darüber hinaus können Akademiker verschiedenster Fakultäten ihre Arbeit(en), sei es Magister-, Diplom-, oder Doktorarbeit bei Filmbay als E-Book verkaufen. Im Mitgliederbereich können Lebenslauf, kreativer Werdegang, Musik und Videos gezeigt werden.

Ein globaler Stellenmarkt, Kleinanzeigen und allgemeiner Informationsbereich runden das Angebot ab. „Die Kreation und Verwertung von Filmen, Musik und Kunst soll möglichst Spaß machen und als Schöpfer eines Werkes sollte man bis zum Schluss der Wertschöpfungskette volle Kontrolle über die Rechte und Vermarktung der Kreation haben. Heutzutage verschwimmen die traditionellen Hierarchien, z.B. bei einer Filmproduktion, da oft eine Person für mehr als eine Funktion zuständig ist“, so Trutnau.

Dieser Gedanke steht bei Filmbay im Vordergrund. Da Filmbay immer online ist, haben Kreative nun die Möglichkeit frei von bisherigen Einschränkungen zusammenzukommen, zu kommunizieren und zusammenzuarbeiten, ohne z.B. eine Messe oder ein Filmfestival aufsuchen zu müssen. In Planung sind außerdem eine online Musik- und Filmschule für jedermann.

Weitere Informationen unter: www.Filmbay.com

Dieser Pressetext ist nicht urheberrechtlich geschützt und darf ohne Einschränkungen verwendet werden – keine Rechte vorbehalten.

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The _FILMBAY_ trailer for KUNG FU MUMMY (DVD) trailer 7

The FILMBAY trailer for JOHNNY MORAIN (DVD) trailer 3

The _FILMBAY_ trailer for MY PINK SHIRT (DVD) trailer 2b


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<<<<<

The _FILMBAY_ trailer for KUNG FU MUMMY (DVD) trailer 7

The FILMBAY trailer for JOHNNY MORAIN (DVD) trailer 3

The _FILMBAY_ trailer for MY PINK SHIRT (DVD) trailer 2b


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finding the key 08
johan2

hancock wanted kung fu panda ufc 86 french axxo wall-e iron man ufc-86-countdown psp 2008 indiana jones nero the happening get smart coldplay doctor who hancock-torrent lost jane-tu-ya-jane-na nds hulk tomtom wall e hentai naruto windows xp discography ufc mamma mia kaspersky photoshop the incredible hulk ironman narnia hitman the dark knight winrar madonna pl heroes top gear alone in the dark rihanna porno ps2 wii dvd flac house, filmbay Posted: Mon Jul 07, 2008 11:03 pm Post subject: ok>>> filmbay 2008 axxo, iron man, the happening, kung fu panda, sex and the city, filmbay torrent, indiana jones, coldplay, fxg, girls gone wild, forgetting sarah marshall. the strangers, filmbay 2, battlestar galactica, mass effect, lost, seinfeld Post subject: video segments 315 filmbay new 01 There are many myths surrounding the origin of the ancient Olympic Games. The most popular legend describes that Heracles was the creator of the Olympic Games, and built the Olympic stadium and surrounding buildings as an honor to his father Zeus, after completing his 12 labours. According to that legend he walked in a straight line for 400 strides and called this distance a "stadion" (Greek: "Στάδιον")- (Roman: "stadium") (Modern English: "Stage") that later also became a distance calculation unit. This is also why a modern stadium track is 400 meters in circumference — the distance a runner travels in one lap (1 stadium = 400 m). Another myth associates the first Games with the ancient Greek concept of ἐκεχειρία (ekecheiria) or Olympic Truce. The date of the Games' inception based on the count of years in Olympiads is reconstructed as 776 BC, although scholars' opinions diverge between dates as early as 884 BC and as late as 704 BC. From then on, the Olympic Games quickly became much more important throughout ancient Greece, reaching their zenith in the 6th and 5th centuries BC. The Olympics were of fundamental religious importance, contests alternating with sacrifices and ceremonies honouring both Zeus (whose colossal statue stood at Olympia), and Pelops, divine hero and mythical king of Olympia famous for his legendary chariot race with King Oenomaus of Pisatis, and in whose honour the games were held. The number of events increased to twenty, and the celebration was spread over several days. Winners of the events were greatly admired and were immortalised in poems and statues.[9] The Games were held every four years, and the period between two celebrations became known as an 'Olympiad.' The Greeks used Olympiads as one of their methods to count years. The most famous Olympic athlete lived in these times: the sixth century BC wrestler Milo of Croton is the only athlete in history to win a victory in six Olympics.[10] The Games gradually declined in importance as the Romans gained power in Greece. After Emperor Theodosius I proclaimed Christianity the religion of the Empire and banned pagan rites, the Olympic Games were outlawed as a pagan festival in 393 AD.[11] During the ancient times normally only young men could participate.[10] Competitors were usually nude, not only as the weather was appropriate but also as the festival was meant to be, in part, a celebration of the achievements of the human body. Upon winning the games, the victor would have not only the prestige of being in first place but would also be presented with a crown of olive leaves. The olive branch is a sign of hope and peace.[12] Even though the bearing of a torch formed an integral aspect of Greek ceremonies, the ancient Olympic Games did not include it, nor was there a symbol formed by interconnecting rings. These Olympic symbols were introduced as part of the modern Olympic Games. The 2008 Summer Olympics, officially known as the Games of the XXIX Olympiad, are an international multi-sport event, that will be held in Beijing, People's Republic of China from August 8 to August 24, 2008, and followed by the 2008 Summer Paralympics from September 6 to September 17. 10,500 athletes are expected to compete in 302 events in 28 sports.[1] The Olympic games were awarded to Beijing after an exhaustive ballot of the International Olympic Committee (IOC) on July 13, 2001. The official logo of the games, titled "Dancing Beijing," features a stylized calligraphic character jīng (京, meaning capital), referencing the host city. The mascots of Beijing 2008 are the five Fuwa, each representing one color of the Olympic rings. The Olympic slogan, One World, One Dream, calls upon the world to unite in the Olympic spirit. Athletes will compete in 302 events in 28 sports, just one event more than was on the schedule of the Athens games of 2004. Several new National Olympic Committees (NOCs) have also been recognized by the IOC. The Chinese government has promoted the games to highlight China's emergence on the world stage.[2][3] and has newly built 12 venues, renovated 11, temporary built eight with a grand total of 37 venues hosting the events. Earlier in 2007, former IOC president Juan Antonio Samaranch had said that he believes that the Beijing games will be "the best in Olympic history."[4] Beijing was elected the host city on July 13, 2001, during the 112th IOC Session in Moscow, beating Toronto, Paris, Istanbul, and Osaka. Prior to the session, five other cities (Bangkok, Cairo, Havana, Kuala Lumpur, and Seville) submitted bids to the IOC but failed to make the shortlist in 2000. After the first round of voting, Beijing held a significant lead over the other four candidates. Osaka received only six votes and was eliminated. In the second round, Beijing was supported by an absolute majority of voters, eliminating the need for subsequent rounds.[5] After winning the bid Li Lanqing, the vice premier of China, declared "The winning of the 2008 Olympic bid is an example of the international recognition of China's social stability, economic progress and the healthy life of the Chinese people." Previously, Beijing had bid to host the 2000 Summer Olympics. It led the voting over the first three rounds, but ultimately lost to Sydney in the final round in 1993. Preparations Venues Main articles: 2008 Summer Olympics venues and Olympic Green By May 2007, construction of all thirty-one Beijing-based Olympic Games venues had begun.[6] The Chinese government is also investing in the renovation and construction of six venues outside Beijing as well as fifty-nine training centers. Its largest architectural pieces will be the Beijing National Stadium, Beijing National Indoor Stadium, Beijing National Aquatics Centre, Olympic Green Convention Centre, Olympic Green, and Beijing Wukesong Culture & Sports Center. Almost 85 percent of the construction budget for the six main venues is being funded by US$2.1 billion (RMB¥17.4 billion) in corporate bids and tenders. Investments are expected from corporations seeking ownership rights after the 2008 Summer Olympics. Some venues will be owned and governed by the State General Administration of Sports, which will use them after the Olympics as facilities for all future national sports teams and events. Some events will be held outside Beijing, namely football (in Qinhuangdao, Shanghai, Shenyang, and Tianjin), sailing (in Qingdao), and equestrian (in Hong Kong, because of "uncertainties of equine diseases and major difficulties in establishing a disease-free zone").[7] This will be the third time the Olympics are held under the jurisdiction of 2 different NOCs (Hong Kong and mainland China compete separately).[citation needed] Beijing National Stadium Main article: Beijing National Stadium The Beijing National Stadium. The centerpiece of the 2008 Summer Olympics will be the Beijing National Stadium, nicknamed the "Bird nest" because of its nest-like skeletal structure.[8] Construction of the venue began on December 24, 2003. The Guangdong Olympic Stadium was originally planned, constructed, and completed in 2001 for the Games, but a decision was made to construct a new stadium in Beijing.[9] Government officials engaged architects worldwide in a design competition. A Swiss firm, Herzog & de Meuron Architekten AG, collaborated with China Architecture Design & Research Group to win the competition. The stadium features a lattice-like concrete skeleton forming the stadium bowl and will have a seating capacity of 80,000 people. Architects originally described the overall design as resembling a bird nest with an immense ocular—an opening with a retractable roof over the stadium. However, in 2004, the idea of retractable roof was abandoned for economic and safety reasons. The Beijing National Stadium will be the site of the opening and closing ceremonies, as well as the athletics events and soccer finals. The stadium's designer Ai Weiwei has since withdrawn his support for China's Olympic games, saying "he wants nothing to do with them anymore".[10][11] Transport This is a map of the Olympic venues in Beijing. Several expressways encircle the center of the city, providing for quick transportation around the city and between venues. In preparation for the huge rush during the games, Beijing's subway system underwent a major expansion which increased its capacity to more than twice its previous size. The previous system was composed of four lines and 64 stations. An additional seven lines and more than eighty new stations were constructed, including a direct link to Beijing Capital International Airport. In the airport itself, eleven unmanned trains, each transporting a maximum of 83 passengers, will expedite the movement of people throughout the new terminal building.[12] Most of them are scheduled to operate from June 30, 2008, one month before the beginning of the games. In January 2007, the BOCOG announced that the Metro cars will be fitted with video screens showing the latest news and events during the games. Additionally, cellphone signals would be made available, so that people can use their communication devices in the metro stations or underground.[13] According to the General Administration of Civil Aviation of China, a new five-level emergency alert system for extreme weather and security threats will be implemented in the airport. This system is designed to ensure smooth and safe transportation for the estimated three million domestic and overseas visitors who will flock to Beijing for the games in August 2008.[14] On the ground, Beijing is set to designate thirty-eight official public transit routes that will link the Olympic venues. During the games, 2,500 large-size buses and 4,500 minibuses will be operated by a total of 8,000 drivers to transport people across various venues. Prior to the games, public transport will be optimized in order to reduce the existing 110 overlapping routes.[15] Beijing will be implementing a temporary road space rationing based on plate numbers during the Games in order to significantly improve air quality in the city.[16] Under the traffic plan made public on June 20, 2008, the rationing will be enforced for two months, between July 20 to September 20, as the Olympics will begin on August 8, and then will be followed by the 2008 Paralympics, from September 6 until 17. [17] The restrictions will be in placed on alternate days depending on the plates ending in odd or even numbers. This measure is expected to take 45% of the 3.3 million car fleet off the streets. In addition, 300,000 heavy polluting vehicles will be banned from July 1, and the plan also prohibits access to most vehicles coming from outside Beijing. The boosted public transport network is expected to absorve this additional demand, estimated in more than 4 million extra passengers per day.[18][17] Marketing Emblem, Slogan and Mascots Main articles: Dancing Beijing and Fuwa Dancing Beijing emblem depicted in a flower garden. The 2008 Summer Olympics emblem is known as "Dancing Beijing" (舞动的北京). The emblem combines a traditional Chinese red seal and a representation of the calligraphic character jīng (京, "national capital") with athletic features. The open arms of the calligraphic word symbolizes the invitation of China to the world to share in its culture. IOC president Jacques Rogge was very happy with the emblem, saying, "Your new emblem immediately conveys the awesome beauty and power of China which are embodied in your heritage and your people."[19] The slogan for the 2008 Olympics is "One World, One Dream" (simplified Chinese: 同一个世界 同一个梦想; traditional Chinese: 同一個世界 同一個夢想; pinyin: Tóng Yíge Shìjiè Tóng Yíge Mèngxiǎng.)[20] The slogan calls upon the whole world to join in the Olympic spirit and build a better future for humanity. It was chosen from over 210,000 entries submitted from around the world.[8] The 2008 Olympic Mascots are the five Fuwa ("good luck dolls"). The Fuwa consist of five members that incorporate fish, giant panda, fire, Tibetan antelope, and swallow designs. They roughly correspond with the five elements of Chinese philosophy: water, metal, fire, wood, and earth. The Fuwa each have as their primary color one of the colors of the five Olympic Rings that stand for the five continents. The five Fuwa are named Beibei, Jingjing, Huanhuan, Yingying, and Nini. When the first syllable of each of the five names are said together, the result is the phrase 北京欢迎你 (Běijīng huānyíng nĭ) which means "Beijing welcomes you".[21] Tickets In April 2007, the over seven million[22] tickets for sporting events and ceremonies went on sale. Approximately 75% of tickets went on sale through the Beijing Organizing Committee, which set low ticket prices for domestic tickets, to encourage the Chinese people to attend the Games. International tickets are available through each nation's NOC.[23] By June 2007, 2.2 million tickets had already been sold.[24] Merchandising Since early 2007, licensed Olympics merchandise stores have been in business throughout China. More than 800 official stores were in operation at the end of July 2007. Since August 2007, Olympic merchandise has been made available online, with more than 5000 products available via the official merchandising website, which include apparel, mascot dolls, key-chains and commemorative chopsticks.[25] In November 2007, the overseas Olympic E-shop provide online access to customers all over the world to Licensed Products of Beijing 2008 Olympic Games. (Excluding the USA, Japan, UK, Canada and China)[26] Music The official theme for the torch relay was "Light the Passion, Share the Dream",[27] with the English version performed by the 106 contestants of Miss World 2007.[28] The official song for the game's one-year countdown celebration was "We Are Ready"[29] with a version recorded by Jackie Chan[30]. "Beijing Huan Ying Ni" ("Beijing welcomes you") was the theme song for the 100-day countdown celebration.[31] "I am a Star" and "Smile Beijing" have been selected as theme songs for the Beijing Olympic Volunteers Committee.[32] Opening ceremony Main article: 2008 Summer Olympics Opening Ceremony The opening ceremony of the Olympics in Beijing will be held in the Beijin National Stadium, and begin at 08:08:08pm CST (12:08:08 UTC) on 8 August 2008.[a] It has been announced that Canada's Celine Dion[33] and Taiwan's Jay Chou[34] would perform during the opening ceremony. Sports This pictogram depicts Athletics. Medals of the 2008 Summer Olympics The program for the Beijing 2008 Games is quite similar to that of the Athens Games held in 2004. The 2008 Olympics will see the return of 28 sports, and will hold 302 events (165 men’s events, 127 women’s events, and 10 mixed events), one event more in total than in Athens. Overall nine new events will be held, which include two from the new cycling discipline of BMX. Women will compete in the 3000 m steeplechase for the first time. In addition, marathon swimming events for men and women, over the distance of 10 kilometers, will be added to the swimming discipline. Team events (men and women) in table tennis will replace the doubles events. In fencing, women's team foil and women's team sabre will replace men's team foil and women's team epee.[b][35][36] The Beijing Organizing Committee have released pictograms of the 35 Olympic disciplines. This set of sport icons is named the beauty of seal characters, due to each pictogram's likeness to Chinese seal script.[37] The following are the sports to be contested at the games. The number of events to be contested in each sport is indicated in parentheses. (The Olympic sport of aquatics has been split into its constituent disciplines of diving, swimming, synchronized swimming, and water polo.) Archery (4) Athletics (47) Badminton (5) Baseball (1) Basketball (2) Boxing (11) Canoeing (16) Cycling (1 Diving ( Equestrian (6) Fencing (10) Field hockey (2) Football/Soccer (2) Gymnastics (1 Handball (2) Judo (14) Modern pentathlon (2) Rowing (14) Sailing (11) Shooting (15) Softball (1) Swimming (34) Synchronized swimming (2) Table tennis (4) Taekwondo ( Tennis (4) Triathlon (2) Volleyball (4) Water polo (2) Weightlifting (15) Wrestling (1 Calendar In the following calendar for the 2008 Olympic Games, each blue box represents an event competition, such as a qualification round, on that day. The yellow boxes represent a medal-awarding final for a sport. The number in each box represents the number of finals that will be contested on that day.[38] ● Opening ceremony ● Event competitions ● Event finals ● Closing ceremony August 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th 20th 21st 22nd 23rd 24th T Ceremonies ● ● Archery 1 1 1 1 4 Athletics 2 4 6 6 5 3 6 7 7 1 47 Badminton 1 2 2 5 Baseball 1 1 Basketball 1 1 2 Boxing 5 6 11 Canoeing 2 2 6 6 16 Cycling 1 1 2 1 3 1 2 3 2 1 1 18 Diving 1 1 1 1 1 1 1 1 8 Equestrian 2 1 1 1 1 6 Fencing 1 1 1 1 2 1 1 1 1 10 Field hockey Name Uploaded Size DL SE LE PE Health Download torrent 'Prom.Night.UNRATED.R5.LINE.XVID-RUiNSRR' Prom.Night.UNRATED.R5.LINE.XVID-RUiNSRR 4h 54min 708.9 Mb 0 0 0 0 0% Download torrent 'You.Dont.Mess.With.The.Zohan.2008.CAM.SUBBED.SP.[www.UsaBit.com]' You.Dont.Mess.With.The.Zohan.2008.CAM.SUBBED.SP.[www.UsaBit.com] 4h 54min 701.9 Mb 0 0 0 0 0% Download torrent 'Ü-Ei 4 by Knight Daemon.rar' Ü-Ei 4 by Knight Daemon.rar 4h 56min 2.4 Gb 0 0 0 0 0% Download torrent 'Naruto 46-60' Naruto 46-60 4h 57min 2.0 Gb 0 0 0 0 0% Download torrent 'Souls Island.rar' Souls Island.rar 4h 57min 34.6 Mb 0 0 0 0 0% Download torrent 'MyVideoConverter.rar' MyVideoConverter.rar 4h 57min 12.8 Mb 0 0 0 0 0% Download torrent 'Cherry Master Poker.ace' Cherry Master Poker.ace 4h 57min 905.7 Kb 0 0 0 0 0% Download torrent 'RitmeboxEP.zip' RitmeboxEP.zip 4h 57min 17.6 Mb 0 0 0 0 0% Download torrent '1way2sex.netAbiturientin mit scharfen Titten gefickt.rar' 1way2sex.netAbiturientin mit scharfen Titten gefickt.rar 4h 57min 38.6 Mb 0 0 0 0 0% Download torrent 'Rihanna Good Girl Gone Bad 2007000' Rihanna Good Girl Gone Bad 2007000 4h 57min 53.9 Mb 0 0 0 0 0% Download torrent '[Aznmedia.net]Lilly me - Beautiful day~cover songs~[2008.6.25].ra' [Aznmedia.net]Lilly me - Beautiful day~cover songs~[2008.6.25].ra 4h 57min 56.6 Mb 0 0 0 0 0% Download torrent '1way2sex.net18 J. 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The torch is designed to remain lit in 65 kilometer per hour winds, and in rain of up to 50 millimeters per hour. The relay, with the theme Journey of Harmony, is expected to last 130 days and carry the torch 137,000 km (85,000 mi)—the longest distance of any Olympic torch relay since the tradition began at the 1936 Berlin Games.[39][40] So far, the torch relay has been called a "public relations disaster" by The Times[41] for China, with protests of China's human rights record, particularly in Tibet. Route of the 2008 Olympic Torch Relay The relay began 24 March 2008, in Olympia, Greece. From there, it traveled across Greece to Panathinaiko Stadium in Athens, and then to Beijing, arriving on 31 March. From Beijing, the torch followed a route passing through every continent except Antarctica. The torch visited cities on the Silk Road, symbolizing ancient links between China and the rest of the world. A total of 21,880 torchbearers have been selected from around the world by various organizations and entities.[42] The international portion of the relay has been a problematic, month-long world tour that has seen wide-scale protests to China's human rights abuses and recent crackdown in Tibet. After trouble in London saw several attempts to put out the flame, the following day, the flame was extinguished in Paris .[43] The American leg in San Francisco on 9 April was altered without prior warning to avoid such scenes, although there were still demonstrations along the original route,[44] but the remaining legs have not been as disastrous. The relay was further delayed and simplified after the devastating 2008 Sichuan earthquake affecting western China. Protesters in support of the Tibetan Independence Movement during the Olympic torch relay in San Francisco. The flame was carried to the top of Mount Everest[42] on a 108 km (67 mi) long "highway" scaling the Tibetan side of the mountain especially built for the relay. The $19.7 million blacktop project spanned from Tingri County of Xigazê Prefecture to the Everest Base Camp.[45] In March 2008, China banned mountaineers from climbing its side of Mount Everest and later persuaded the Nepalese government to close their side as well, officially citing environmental concerns.[46] It also reflected concerns by the communist government that Tibet activists may try to disrupt its plans to carry the Olympic torch up the world's tallest peak.[47] The original route included a stop in Taipei before heading for Hong Kong. Taiwan's government, however, later rejected this proposal, claiming that such arrangement would make the Taiwan relay be seen as part of China's domestic route, rather than the international route.[48] The IOC eliminated Taipei from the relay; both China and Taiwan have blamed each other for injecting politics into the event.[49] Participating NOCs Though the qualifying competitions for various sports are well underway, it cannot be certain which of the current 205 National Olympic Committees (NOCs)[50] will participate in 2008. Most NOCs participate regularly, although various circumstances could cause a nation to be absent from the games, as was the case for six NOCs at the 2006 Winter Olympics. Nevertheless, placements in various qualifying events can help predict which nations and how many athletes will be at the games. Steven Roush, chief of sport performance for the United States Olympic Committee, expects that the United States will bring about 600 competitors to the games, their largest Olympic team thus far.[51] Other delegations will be much smaller; Afghanistan, for example, will be represented by just four competitors.[52] South African swimmer Natalie du Toit, five time gold medallist at the Athens Paralympics in 2004, has qualified to compete at the Beijing Olympics, thus making history by becoming the first amputee to qualify for the Olympic Games since Hector Castro in 1928 and the first leg amputee since George Eyser in 1904.[53] [54] List of participating NOCs Afghanistan Albania Algeria American Samoa Andorra Angola Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Brazil British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Cayman Islands Central African Republic Chad Chile China Chinese Taipei Colombia Comoros DR Congo Congo Cook Islands Costa Rica Côte d'Ivoire Croatia Cuba Cyprus Czech Republic Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Fiji Finland France Gabon Gambia Georgia Germany Ghana Great Britain Greece Grenada Guam Guatemala Guinea Guinea-Bissau Guyana Haiti Honduras Hong Kong, China Hungary Iceland India Indonesia Iran Iraq Ireland Israel Italy Jamaica Japan Jordan Kazakhstan Kenya Kiribati South Korea North Korea Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg FYR Macedonia Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Mauritania Mauritius Mexico FS Micronesia Moldova Monaco Mongolia Montenegro Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Zealand Nicaragua Niger Nigeria Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Saint Kitts and Nevis Saint Lucia St. Vincent & Grenadines São Tomé and Príncipe Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa Spain Sri Lanka Sudan Suriname Swaziland Sweden Switzerland Syria Tajikistan Tanzania Thailand Timor-Leste Togo Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Tuvalu Uganda Ukraine United Arab Emirates United States Uruguay Uzbekistan Vanuatu Venezuela Vietnam Virgin Islands Yemen Zambia Zimbabwe Participation changes The Marshall Islands and Tuvalu gained National Olympic Committee status in 2006 and 2007 respectively, and are expected to participate in the Games.[55][56][57] The states of Serbia and Montenegro, which participated at the 2004 Games jointly as Serbia and Montenegro, will now compete separately. The Montenegrin Olympic Committee was accepted as a new National Olympic Committee in 2007.[57] IOC have promised to recognize the newly independent Republic of Kosovo, but probably not in time for the nation to compete in the Olympics.[58] North Korea and South Korea held meetings to discuss the possibility of sending a united team to the 2008 Olympics.[59][60] However, the proposal failed, due to disagreements between the two NOCs on the proportion of athletes from the two countries within the team.[61] Broadcasting [show]List of international broadcasters These games will be the first to be produced and broadcast entirely in high definition television, and will likely garner upwards of four billion viewers.[86] In their bid for the Olympic games in 2001, Beijing confirmed to the olympic evaluation commission "that there will be no restrictions on media reporting and movement of journalists up to and including the Olympic Games."[87] Concerns and controversies The banner reads: "Human Rights Abuse Cannot Co-exist with Beijing Olympics" Main article: Concerns over the 2008 Summer Olympics Concerns over the games include the potential for boycotts from pro-Tibetan organizations such as Students for a Free Tibet as well as from organizations such as Amnesty International upset with China's involvement in the crisis in Darfur. China has also been battling problems with air pollution both in the city of Beijing and in neighboring areas, which the Beijing Organizing Committee (BOCOG) says it hopes to remedy before the games. The head of Interpol warned China on April 25, 2008 that there is a "real possibility" that the Beijing Olympics will be targeted by terrorist groups[88], as well as potentially violent disruption from pro-Tibet protestors.[89] See also Wikimedia Commons has media related to (category): 2008 Summer Olympics or 2008 Summer Olympics torch relay Olympics portal Beijing Organizing Committee 2008 Summer Olympics bids 2008 Summer Paralympics 2008 Summer Olympics venues 2008 Olympic Torch Relay 2008 Summer Olympics national flag bearers Zhang Jigang (co-directing 2008 Opening and Closing Ceremonies) Zhang Yimou (co-directing 2008 Opening Ceremonies) Mario & Sonic at the Olympic Games Beijing 2008 (video game) Notes ^ The number 8 is associated with prosperity and confidence in Chinese culture.[90] ^ The fencing programme will again include all six individual events and four team events, though the team events will be a different set than were held in 2004. The International Fencing Federation's rules call for events not held in the previous Games to receive automatic selection and for at least one team event in each weapon to be held. Voting is conducted to determine the fourth event. In 2004, the three men's team events and the women's épée were held. Thus, in 2008, the women's foil and sabre events and men's épée were automatically selected. Men's sabre was chosen over foil by a 45–20 vote.[91] References ^ a b 6th Coordination Commission Visit To Begin Tomorrow. International Olympic Committee. Retrieved on 2006-05-20. ^ "China's coming out party", Toronto Star, August 2007. ^ "2008-The Year of China?", BusinessCenter.TV, 2007-08-07. Retrieved on 2008-01-02. ^ "Beijing 2008 will be best-ever Games: Samaranch", BOCOG, 2007-06-25. Retrieved on 2007-06-25. ^ Beijing 2008: Election. International Olympic Committee. Retrieved on 2006-12-18. ^ "All Beijing-based Olympic venues under construction", BOCOG, 2007-05-11. Retrieved on 2007-05-11. ^ Olympic Venues, Beijing 2008. Retrieved on May 15, 2006. ^ a b "The Olympic Games en route for Beijing", International Olympic Committee, 2007-07-13. Retrieved on 2007-07-16. ^ ArchitectureWeek - Design - China's Banner Stadium - 2002.0501 ^ "Stadium designer blasts China Olympics", Aljazeera, 2007-08-12. Retrieved on 2007-07-16. ^ Chinese architect slams Olympic 'pretend smile'. Reuters. Retrieved on 2007-08-16. ^ "Un-manned trains to operate at new airport terminal building", BOCOG, 2007-06-13. Retrieved on 2007-06-17. ^ "Official: passengers can watch the Games in Beijing metro", BOCOG, 2007-01-31. Retrieved on 2006-02-15. ^ "Beijing airport to launch emergency alert mechanism for Olympics", BOCOG, 2007-06-25. Retrieved on 2007-06-25. ^ "38 public transit routes to the Olympic venues", BOCOG, 2007-01-22. Retrieved on 2007-01-29. ^ Andrew Jacobs. "Traffic Beijing Stops Construction for Olympics", New York Times, 2008-04-14. Retrieved on 2008-04-14. ^ a b Stephen Wade. "Beijing sets restrictions on cars during Olympics", National Examiner, 2008-06-20. Retrieved on 2008-06-23. ^ Reuters. "Beijing to launch Olympic 'odd-even' car ban", ABC news, 2008-06-23. Retrieved on 2008-06-23. ^ "Rogge's Message for Beijing Olympics Emblem Unveiling", People's Daily Online, 2003-08-03. Retrieved on 2006-12-19. ^ "'One World One Dream' selected as the Theme Slogan for Beijing 2008 Olympic Games", BOCOG, 2005-12-25. Retrieved on 2007-05-05. ^ "The Official Mascots of the Beijing 2008 Olympic Games", BOCOG. Retrieved on 2006-12-19. ^ "China to sell over 7mn tickets", Gulf Times Newspaper, 2006-08-07. Retrieved on 2006-08-14. ^ "Beijing 2008 tickets go on sale", BOCOG, 2007-04-15. Retrieved on 2007-05-05. ^ "Olympic Opening ceremony tickets getting hot", BOCOG, 2007-06-21. Retrieved on 2007-06-25. ^ Lei, Lei. "Official Olympics gear now just a click away", China Daily, 2007-07-31. Retrieved on 2007-08-03. ^ The Overseas Olympic E-shop goes on-line 29 November 2007. The Official Website of the Beijing 2008 Olympic Games. Retrieved on 2007-11-29. ^ Theme song for 100-day Olympic countdown released - The Official Website of the Beijing 2008 Olympic Games ^ 106 Misses 'light the passion' for the Olympic Games - The Official Website of the Beijing 2008 Olympic Games ^ "We Are Ready" - The Official Website of the Beijing 2008 Olympic Games ^ Jackie Chan is ready for the Paralympics - The Official Website of the Beijing 2008 Olympic Games ^ Theme song for 100-day Olympic countdown released - The Official Website of the Beijing 2008 Olympic Games ^ Theme songs for Olympic Torch Relay, Volunteers unveiled on 100-day countdown - The Official Website of the Beijing 2008 Olympic Games ^ Celine Dion to sing for 2008 Olympic Games in Beijing - The Official Website of the Beijing 2008 Olympic Games ^ Jay Chou to treat fans to debut performance of Olympic song - The Official Website of the Beijing 2008 Olympic Games ^ "Beijing 2008: Games Programme Finalised", International Olympic Committee, 2006-04-27. Retrieved on 2006-05-10. ^ Programme of the Games of the XXIX Olympiad, Beijing 2008, International Olympic Committee. Retrieved on May 15, 2006. ^ "Pictograms of the Beijing 2008 Olympic Games unveiled", BOCOG, 2006-08-07. Retrieved on 2006-08-09. ^ Olympic Games Competition Schedule. BOCOG. Retrieved on 2007-07-05. ^ "Beijing 2008: BOCOG Announces Olympic Torch Relay Route", International Olympic Committee, 2007-04-26. Retrieved on 2007-04-26. ^ Officials Expect Olympic Torch to Continue on Route. ^ "Britain sends mandarins to China on subtle mission", The Times, 2008-04-25. Retrieved on 2007-04-27. ^ a b "Beijing 2008 Olympic Torch Relay Planned Route and Torch Design unveiled", BOCOG, 2007-04-26. Retrieved on 2007-04-26. ^ Bremner, Charles. "Tibet protests force organisers to snuff out Olympic flame in Paris", The Times, 2008-04-07. ^ {{cite news| url=http://news.bbc.co.uk/1/hi/world/americas/7339380.stm title= Confusion strikes US torch relay| date=2008-04-09| publisher=BBC News| ^ "China to build highway on Mt Everest for 2008 Olympics", The Hindu, 2007-06-20. Retrieved on 2007-06-25. ^ "Climbers banned from Everest as China seeks to stop protests on summit", The Independent, 2008-03-17. Retrieved on 2008-03-23. ^ "China closes its side of Everest to climbers", CNN, 2008-03-12. Retrieved on 2008-03-13. ^ "Taiwan rejects 'domestic' Olympic torch route", Taiwan Journal, 2007-05-04. Retrieved on 2007-08-15. ^ "China blames Taiwan for scuttling Olympic torch relay through Taipei, labels 'vile precedent'", Yahoo! Canada Sports, 2007-09-21. Retrieved on 2007-09-24. ^ National Olympic Committees. International Olympic Committee. Retrieved on 2008-03-11. ^ "About 600 athletes to compete for the U.S. at 2008 Olympic Games", BOCOG, 2007-08-03. Retrieved on 2007-08-03. ^ "Afghan Athletes Train for Beijing Olympic ", Afghan embassy to the United States, April 29, 2008 ^ "Dreams carry Natalie Du Toit to Beijing", The Telegraph, May 4, 2008 ^ "Du Toit, who lost leg in scooter accident, will swim in Beijing Games", Reuters, May 3, 2008 ^ "Marshall Islands joins Olympic Family", ONOC, 2006-02-10. Retrieved on 2006-12-17. Popular searches: vista batman metallica stargate atlantis naruto-shippuden-64-65-vostfr the-sims-2-ikea-home-stuff-crack ita incest star wars naruto-shippuuden-64-sub prison break legenda-hancock dvdrip adulthood teen speed racer autocad mass effect weeds windows vista dexter regcure girls gone wild hancock french rosetta stone lil wayne need for speed milf mp4 hancock german Recent searches: tomtom-7-crack vtc-ms-project-2003 old reino hancock movie vtc-ms-project-2003 torture cbt python papa john creach dressed to kill dcp the iron man pro cycling 2008 tycoon laguna-beach nod 32 3.0.642 fix norah jones dead man johnny depp riyazstudio Ù…Ø Ù…ÙˆØ¯ درويش mrs.-valley RSS: All torrents, Warning: Invalid argument supplied for foreach() in /usr/local/www/bushtorrent.com/include/footer.inc.php on line 13 ^ "Robert Meets IOC President", ONOC, 2005-04-02. Retrieved on 2006-12-17. ^ a b "Two new National Olympic Committees on board!", International Olympic Committee, 2007-07-06. Retrieved on 2007-07-08. ^ "IOC to recognise Kosovo", News24, 2008-02-17. Retrieved on 2008-02-17. ^ "Koreas 'to unify Olympics teams'", BBC, 2006-05-14. Retrieved on 2006-12-17. ^ "Two Koreas Make Progress in Creation of Unified Team", International Olympic Committee, 2006-09-05. Retrieved on 2006-09-10. ^ "Koreas fail to agree on fielding joint team for Beijing Olympics", AP, 2007-02-13. Retrieved on 2007-02-28. ^ Seven Network 2008 - Olympics ^ Briel, Robert (2008-04-16). Belgian pubcaster VRT to launch HD channel. BroadbandTVNews.com. Retrieved on 2008-06-16. ^ *CBC/Radio-Canada:CBC Olympics - Schedule. CBC. Retrieved on 2008-06-22.CBC/Radio-Canada (2005-02-07). "Statement Regarding the IOC's Awarding of the Broadcast Rights for the 2010 and 2012 Olympic Games". Press release. The release states that both CBC and Radio-Canada "still own the broadcast rights for...the Beijing Games in 2008." TSN:Olympics - TV Schedule. TSN. Retrieved on 2008-06-22. As of access date, TSN has stated: "Details of TSN's coverage from the 2008 Summer Olympics in Beijing, China will be announced at a later date". ^ Ensha, Azadeh. "Chinese Company Gains Olympic Webcast Rights", The New York Times, 2008-06-17. Retrieved on 2008-06-17. ^ YLE tapahtumat. YLE. Retrieved on 2008-05-19. ^ International Olympic Committee (2007-08-06). "IOC Awards Broadcast Rights in Hong Kong to i-CABLE". Press release. Retrieved on 2008-04-04. “Please note: Over the air broadcast rights for the Beijing 2008 Olympic Games were acquired by Asia Television Limited and Television Broadcasts Limited through the Asian Broadcasting Union.” ^ Verma, Meenakshi. "Doordarshan bags Olympics rights for $3mn", The Economic Times, 2007-11-06. Retrieved on 2008-06-16. ^ China to mark its territory with Olympics 2008. RTÉ News (2007-11-12). Retrieved on 2008-03-17. ^ "RAI commits to high-definition Olympics", Hollywood Reporter, 2008-04-15. Retrieved on 2008-06-16. ^ Summary of Press Conference. NHK. Retrieved on 2008-06-16. ^ (Spanish)Cerón, César (2008-06-12). China, un nuevo reto para Alberto Lati. Televisa Deportes. Retrieved on 2008-06-16. ^ "Malaysia's TV operator to add more channels for Beijing Olympics", Xinhuanet, 2008-04-01. Retrieved on 2008-04-03. ^ NOS brengt Olympische Spelen en EK Voetbal in HDTV. Broadcast Magazine. Broadcast Press. Retrieved on 2008-03-17. ^ TVNZ (2007-09-2. "TVNZ announces High Definition plans". Press release. ^ Solar Sports, The Olympic Channel. Retrieved on 2008-04-07. ^ "Pekin 2008 w TVP", 2007-12-19. Retrieved on 2008-06-11. ^ "RTP vai transmitir 500 horas de Jogos Olímpicos" (in Portuguese), Media & Publicidade, Diário Económico, 2008-05-05. Retrieved on 2008-06-20. ^ The Russian satellite operator RSCC and the Chinese company CNC signed a cooperation agreement for international satellite TV transmissions from 2008 Olympic Games. News. Russian Satellite Communications Company. Retrieved on 2008-03-26. ^ IOC Awards TV Rights for North and South Korea. Retrieved on 2008-06-16. ^ official web site ^ Beijing Olympics on the BBC. BBC. Retrieved on 2008-06-28. ^ Coming in August: The Complete Olympics on NBC. NBC. Retrieved on 2008-06-28. ^ Medios se alistan para Beijing. News. Lavinotinto.com. Retrieved on 2008-02-19. ^ National TV station said to have Euro 2008 broadcasting rights. VietNamNet (2007-09-0. Retrieved on 2008-06-16. ^ "Seeing clearly: Panasonic ushers in first HDTV Game", China Daily, 2007-07-06. Retrieved on 2008-03-24. ^ Report of the IOC Evaluation Commission for the Games of the XXIX Olympiad in 2008, pg.73 ^ Interpol says Olympic terror attack 'real possibility. The Globe and Mail. Accessed: April 25, 2008 ^ Interpol chief warns of Olympic terror threat. Yahoo! News. Accessed: April 25, 2008 ^ The Number Eight And The Chinese. Retrieved on 2007-04-22. ^ List of decisions of the 2006 General Assembly. Federation Internationale d'Escrime (2006-04-0. Retrieved on 2007-04-22. Selena Gomez-Cruella De Vil (Official Music Video) ... Official Trailer for "Hurricane Strip" FILMBAY DVD ... more hits from: http://tv-nation.com/sitemap/f-22-p-7.html - 38 KB Videos Pictures Games Updated Hourly MY PINK SHIRT (Official Trailer) FILMBAY ... mrqe mrqe.com multitude music Viral Videos bands filmbay 08 Added: June 19, 2008 ... more hits from: http://www.rssmediafun.com/index.php?module=search&action=...h_keywords&keyword=movies - 27 KB Flickr: Search Flickr is almost certainly the best online photo management and sharing ... FILMBAY ONLINE FILM DISTRIBUTION. Uploaded on 1 March 2008. By bobby100m ... more hits from: http://www.flickr.com/search/?w=all&q=distribution - 77 KB NEWSLETTER N° 347: January 16, 2008 | Fest21.com: films, festivals ... AWARDS THE AWARDS WATCH ON FEST21.COM Oscar and more ... 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According to that legend he walked in a straight line for 400 strides and called this distance a "stadion" (Greek: "Στάδιον")- (Roman: "stadium") (Modern English: "Stage") that later also became a distance calculation unit. This is also why a modern stadium track is 400 meters in circumference — the distance a runner travels in one lap (1 stadium = 400 m). Another myth associates the first Games with the ancient Greek concept of ἐκεχειρία (ekecheiria) or Olympic Truce. The date of the Games' inception based on the count of years in Olympiads is reconstructed as 776 BC, although scholars' opinions diverge between dates as early as 884 BC and as late as 704 BC. From then on, the Olympic Games quickly became much more important throughout ancient Greece, reaching their zenith in the 6th and 5th centuries BC. The Olympics were of fundamental religious importance, contests alternating with sacrifices and ceremonies honouring both Zeus (whose colossal statue stood at Olympia), and Pelops, divine hero and mythical king of Olympia famous for his legendary chariot race with King Oenomaus of Pisatis, and in whose honour the games were held. The number of events increased to twenty, and the celebration was spread over several days. Winners of the events were greatly admired and were immortalised in poems and statues.[9] The Games were held every four years, and the period between two celebrations became known as an 'Olympiad.' The Greeks used Olympiads as one of their methods to count years. The most famous Olympic athlete lived in these times: the sixth century BC wrestler Milo of Croton is the only athlete in history to win a victory in six Olympics.[10] The Games gradually declined in importance as the Romans gained power in Greece. After Emperor Theodosius I proclaimed Christianity the religion of the Empire and banned pagan rites, the Olympic Games were outlawed as a pagan festival in 393 AD.[11] During the ancient times normally only young men could participate.[10] Competitors were usually nude, not only as the weather was appropriate but also as the festival was meant to be, in part, a celebration of the achievements of the human body. Upon winning the games, the victor would have not only the prestige of being in first place but would also be presented with a crown of olive leaves. The olive branch is a sign of hope and peace.[12] Even though the bearing of a torch formed an integral aspect of Greek ceremonies, the ancient Olympic Games did not include it, nor was there a symbol formed by interconnecting rings. These Olympic symbols were introduced as part of the modern Olympic Games. THE AMERICAN INJUSTICE SYSTEM ( FILMBAY ) Trailer ... 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Several expressways encircle the center of the city, providing for quick transportation around the city and between venues. In preparation for the huge rush during the games, Beijing's subway system underwent a major expansion which increased its capacity to more than twice its previous size. The previous system was composed of four lines and 64 stations. An additional seven lines and more than eighty new stations were constructed, including a direct link to Beijing Capital International Airport. In the airport itself, eleven unmanned trains, each transporting a maximum of 83 passengers, will expedite the movement of people throughout the new terminal building.[12] Most of them are scheduled to operate from June 30, 2008, one month before the beginning of the games. In January 2007, the BOCOG announced that the Metro cars will be fitted with video screens showing the latest news and events during the games. Additionally, cellphone signals would be made available, so that people can use their communication devices in the metro stations or underground.[13]

The roots of independent film can be traced back to filmmakers in the 1900s who resisted the control of a trust called the Motion Picture Patents Company or "Edison Trust." The Motion Picture Patents Company, founded in December 1908, was a trust of all the major film companies (Edison, Biograph, Vitagraph, Essanay, Selig, Lubin, Kalem, American Star, American Pathé), the leading distributor (George Kleine) and the biggest supplier of raw film, Eastman Kodak. At the time of the formation of the MPPC, Thomas Edison owned most of the major patents relating to motion pictures, including that for raw film. The MPPC vigorously enforced its patents, constantly bringing suits and receiving injunctions against independent filmmakers. Because of this, a number of filmmakers responded by building their own cameras and moving their operations to Hollywood, California, where the distance from Edison's home base of New Jersey made it more difficult for the MPPC to enforce its patents.[1] The Edison Trust was soon ended by two decisions of the Supreme Court of the United States: one in 1912, which canceled the patent on raw film, and a second in 1915, which cancelled all MPPC patents. Though these decisions succeeded at legalizing independent film, they would do little to remedy the de facto ban on small productions; the independent filmmakers who had fled to Southern California during the enforcement of the trust had already laid the groundwork for the studio system of classical Hollywood cinema. [edit]United Artists and the resistance to the studio system Main article: United Artists The studio system quickly became so powerful that some filmmakers once again sought independence as a result. On February 5, 1919 four of the leading figures in American silent cinema (Mary Pickford, Charles Chaplin, Douglas Fairbanks, and D. W. Griffith) formed United Artists, the first independent studio in America. Each held a 20% stake, with the remaining 20% held by lawyer William Gibbs McAdoo.[2] The idea for the venture originated with Fairbanks, Chaplin, Pickford, and cowboy star William S. Hart a year earlier as they were traveling around the U.S. selling Liberty bonds to help the World War I effort. Already veterans of Hollywood, the four film stars began to talk of forming their own company to better control their own work as well as their futures. They were spurred on by the actions of established Hollywood producers and distributors, who were making moves to tighten their control over their stars' salaries and creative license. With the addition of Griffith, planning began, but Hart bowed out before things had formalized. When he heard about their scheme, Richard A. Rowland, head of Metro Pictures, is said to have observed, "The inmates are taking over the asylum." The four partners, with advice from McAdoo (son-in-law and former Treasury Secretary of then-President Woodrow Wilson), formed their distribution company, with Hiram Abrams as its first managing director. The original terms called for Pickford, Fairbanks, Griffith and Chaplin to independently produce five pictures each year, but by the time the company got under way in 1920-1921, feature films were becoming more expensive and more polished, and running times had settled at around ninety minutes (or eight reels). It was believed that no one, no matter how popular, could produce and star in five quality feature films a year. By 1924, Griffith had dropped out and the company was facing a crisis: either bring in others to help support a costly distribution system or concede defeat. The veteran producer Joseph Schenck was hired as president. Not only had he been producing pictures for a decade, but he brought along commitments for films starring his wife, Norma Talmadge, his sister-in-law, Constance Talmadge, and his brother-in-law, Buster Keaton. Contracts were signed with a letter of independent producers, especially Samuel Goldwyn, Alexander Korda and Howard Hughes. Schenck also formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name. Still, even with a broadening of the company, UA struggled. The coming of sound ended the careers of Pickford and Fairbanks. Chaplin, rich enough to do what he pleased, worked only occasionally. Schenck resigned in 1933 to organize a new company with Darryl F. Zanuck, Twentieth Century Pictures, which soon provided four pictures a year to UA's schedule. He was replaced as president by sales manager Al Lichtman who himself resigned after only a few months. Pickford produced a few films, and at various times Goldwyn, Korda, Walt Disney, Walter Wanger, and David O. Selznick were made "producing partners" (i.e., sharing in the profits), but ownership still rested with the founders. As the years passed and the dynamics of the business changed, these "producing partners" drifted away. Goldwyn and Disney left for RKO, Wanger for Universal Pictures, and Selznick for retirement. By the late 1940s, United Artists had virtually ceased to exist as either a producer or distributor. [edit]The Society of Independent Motion Picture Producers Main article: Society of Independent Motion Picture Producers In 1941, Mary Pickford, Charlie Chaplin, Walt Disney, Orson Welles, Samuel Goldwyn, David O. Selznick, Alexander Korda, and Walter Wanger—many of the same people who were members of United Artists—founded the Society of Independent Motion Picture Producers. Later members included William Cagney, Sol Lesser, and Hal Roach. The Society aimed to preserve the rights of independent producers in an industry overwhelmingly controlled by the studio system. SIMPP fought to end monopolistic practices by the five major Hollywood studios which controlled the production, distribution, and exhibition of films. In 1942, the SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The complaint accused Paramount of conspiracy to control first-run and subsequent-run theaters in Detroit. It was the first antitrust suit brought by producers against exhibitors alleging monopoly and restraint of trade. In 1948, the United States Supreme Court Paramount Decision ordered the Hollywood movie studios to sell their theater chains and to eliminate certain anti-competitive practices. This effectively brought an end to the studio system of Hollywood's Golden Age. By 1958, many of the reasons for creating the SIMPP had been corrected and SIMPP closed its offices. [edit]Low-budget films Main article: Low-budget film The efforts of the SIMPP and the advent of inexpensive portable cameras during World War II effectively made it possible for any person in America with an interest in making films to write, produce, and direct one without the aide of any major film studio. These circumstances soon resulted in a number of critically acclimed and highly influential works, including Maya Deren's Meshes of the Afternoon in 1943, Kenneth Anger's Fireworks in 1947, and Raymond Abrashkin's Little Fugitive in 1953. Little Fugitive became the first independent film to be nominated for Best Picture at the American Academy Awards. It also received Silver Lion at Venice. Both Abrashkin and Anger's films won acclaim overseas from the burgeoning French New Wave, with Fireworks inspiring praise and an invitation to study under him in Europe from Jean Cocteau, and François Truffaut citing Little Fugitive as an essential inspiration to his seminal work, The 400 Blows. Unlike the films of the collapsing studio system, these new low-budget films could afford to take risks and explore new artistic territory outside of the classical Hollywood narrative. Maya Deren was soon joined in New York by a crowd of like minded avant-garde filmmakers who were interested in creating films as works of art rather than entertainment. Based upon a common belief that the "official cinema" was "running out of breath" and had become "morally corrupt, aesthetically obsolete, thematically superficial, [and] temperamentally boring," [3], this new crop of independents formed The Film-Makers' Cooperative, an artist-run, non-profit organization which they would use to distribute their films through a centralized archive. Founded in 1962 by Jonas Mekas, Stan Brakhage, Shirley Clarke, Gregory Markopoulos, and others, the Cooperative provided an important outlet for many of cinemas creative luminaries in the 1960s, including Jack Smith and Andy Warhol. When he returned to America, Ken Anger would debut many of his most important works there. Mekas and Brakhage would go on to found the Anthology Film Archives in 1970, which would likewise prove essential to the development and preservation of independent films, even to this day. [edit]The exploitation boom and the MPAA rating system Main article: B movies (The exploitation boom) Not all low budget films existed as non-commercial art ventures. The success of films like Little Fugitive, which had been made with low (or sometimes non-existent) budgets encouraged a huge boom in popularity for non-studio films. Low budget film making promised exponentially greater returns if the film could have a successful run in the theaters. During this time, independent producer/director Roger Corman began a sweeping body of work that would become legendary for its frugality and grueling shooting schedule. Until his so-called "retirement" as a director in 1971 (he continued to produce films even after this date) he would produce up to seven movies a year, matching (and exceeding) the five a year schedule that the executives at United Artists had once thought impossible. Like those of the avante-garde, the films of Roger Corman took advantage of the fact that unlike the studio system, independent films had never been bound by its self-imposed production code. Corman's example (and that of others like him) would help start a boom in independent B-movies in the 1960s, the principle aim of which was to bring in the youth market which the major studios had lost touch with. By promising sex, wanton violence, drug use, and nudity, these films hoped to draw audiences to independent theaters by offering to show them what the major studios could not. Horror and science fiction films experienced a period of tremendous growth during this time. As these tiny producers, theaters, and distributors continued to attempt to undercut one another, the B-grade shlock film soon fell to the level of the Z movie, a niche category of films with production values so low that they became a spectacle in their own right. The cult audiences these pictures attracted soon made them ideal candidates for midnight movie screenings revolving around audience participation and cosplay. In 1968, a young filmmaker named George Romero shocked audiences with Night of the Living Dead, a new kind of intense and unforgiving independent horror film. This film was released just after the abandonment of the production code, but before the adoption of the MPAA rating system. As such, it was the first and last film of its kind to enjoy a completely unrestricted screening, in which young children were able to witness Romero's new brand of highly realistic gore. This film would help to set the climate of independent horror for decades to come, as films like The Texas Chain Saw Massacre in 1974 and Cannibal Holocaust in 1980 continued to push the envelope. With the production code abandoned and violent and disturbing films like Romero's gaining popularity, Hollywood opted to placate the uneasy filmgoing public with the MPAA ratings system, which would place restrictions on ticket sales to young people. Unlike the production code, this rating system posed a threat to independent films in that it would affect the number of tickets they could sell and cut into the grindhouse cinema's share of the youth market. This change would further widen the divide between commercial and non-commercial films. [edit]New Hollywood and independent filmmaking Main article: New Hollywood Following the advent of television and the Paramount Case, the major studios attempted to lure audiences with spectacle. Screen gimmicks, Widescreen processes and technical improvements, such as Cinemascope, stereo sound, 3-D and others, were invented in order to retain the dwindling audience by giving them a larger-than-life experience. The 1950s and early 60s saw a Hollywood dominated by musicals, historical epics, and other films which benefited from these advances. This proved commercially viable during most of the 1950s. However, by the late Sixties, audience share was dwindling at an alarming rate. Several costly flops, including Cleopatra and Hello, Dolly! put severe strain on the studios. Meanwhile, in 1951, lawyers-turned-producers Arthur Krim and Robert Benjamin had made a deal with the remaining stockholders of United Artists which would allow them to make an attempt to revive the company and, if the attempt was successful, buy it after five years. The attempt was a success, and in 1955 United Artists became the first "studio" without an actual studio. UA leased space at the Pickford/Fairbanks Studio, but did not own a studio lot as such. Because of this, many of their films would be shot on location. Primarily acting as bankers, they offered money to independent producers. Thus UA did not have the overhead, the maintenance or the expensive production staff which ran up costs at other studios. UA went public in 1956, and as the other mainstream studios fell into decline, UA prospered, adding relationships with the Mirisch brothers, Billy Wilder, Joseph E. Levine and others. By the mid 1960s, RKO had collapsed completely, and the remaining four of big five had recognized that they did not know how to reach the youth audience. Foreign films, especially European and Japanese cinema, were experiencing a major boom in popularity with young people, who were interested in seeing films with non-traditional subjects and narrative structures. An added draw for such films was that they, like the American independents, were unencumbered by the production code. In an attempt to capture this audience, the Studios hired a host of young filmmakers (many of whom were mentored by Roger Corman) and allowed them to make their films with relatively little studio control. In 1967, Warner Bothers offered first-time producer Warren Beatty 40% of the gross on his film Bonnie & Clyde instead of a minimal fee. The movie proceeded to gross over $70 million world-wide by 1973. This initial successes paved the way for the studio to relinquish almost complete control to the film school generation and began what the media dubbed "New Hollywood." On May 16, 1969, Dennis Hopper, a young American filmmaker, wrote, directed, and acted in his first film, Easy Rider. Along with his producer/star/co-writer Peter Fonda, Hopper was responsible for the first completely independent film of New Hollywood. Easy Rider debuted at Cannes and garnered the "First Film Award," ("Prix de la premiere oeuvre") after which it received two Oscar nominations, one for best original screenplay and one for Corman-alum Jack Nicholson's breakthrough performance in the supporting role of George Hanson, an alcoholic lawyer for the ACLU. Following on the heels of Easy Rider just over a week later, the revived United Artists' Midnight Cowboy, which, like Easy Rider, took numerous cues from Ken Anger and his influences in the French New Wave, became the first and only X rated film to win the Academy Award for best picture. Midnight Cowboy also held the distinction of featuring cameo roles by many of the top Warhol superstars, who had already become symbols of the militantly anti-Hollywood climate of NYC's independent film community. Within a month, another young Corman trainee, Francis Ford Coppola, made his debut in Spain at the Donostia-San Sebastian International Film Festival with The Rain People, a film he had founded his own studio, American Zoetrope, to make a reality. Though The Rain People was largely overlooked by American audiences, Zoetrope would became a powerful force in New Hollywood. Through Zoetrope, Coppola formed a distribution agreement with studio giant, Warner Bros., which he would exploit to achieve wide releases for his films without making himself subject to the controlling forces of Hollywood. These three films provided the major Hollywood studios with both an example to follow and a new crop of talent to draw from. In 1971, Zoetrope co-founder George Lucas made his feature film debut with THX 1138, also released by Zoetrope through their deal with Warner Bros., announcing himself as another major talent of New Hollywood. By the following year, the leaders of the New Hollywood revolution had made enough of a name for themselves that Coppola was able to convince Paramount to fund his multi-generational gangster epic, The Godfather. Meanwhile Lucas had obtained studio funding for American Graffiti from Universal. In the mid-1970s, the major Hollywood studios continued to tap these new filmmakers for both ideas and personnel, producing idiosyncratic, startling original films such as Paper Moon, Dog Day Afternoon and Taxi Driver, all of which were met with enormous critical and commercial success. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience. It can often seem that all members of the New Hollywood generation were independent filmmakers. Though those mentioned above began with a considerable claim on the title, almost all of the major films commonly associated with the movement were studio projects. The New Hollywood generation soon became firmly entrenched in a revived incarnation of the studio system, which financed the development, production and distribution of their films. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. Seemingly independent films such as Taxi Driver, The Last Picture Show and others were studio films: the scripts were based on studio pitches and subsequently paid for by the studios, the production financing was from the studio, and the marketing and distribution of the films were designed and controlled by the studio. Though Coppola made considerable efforts to resist the influence of the studios, opting to finance his risky 1979 film Apocalypse Now himself rather than compromise with skeptical studio executives, he, and filmmakers like him, had saved the old studios from financial ruin by providing them with a new formula for success. Indeed, it was during this period that the very definition of an independent film became blurred. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio. Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding. George Lucas would leave Zoetrope in 1977 to create his own independent studio, Lucasfilm, which would produce the blockbuster Star Wars and Indiana Jones trilogies. In fact, the only two movies of the movement which can be described as uncompromisingly independent are Easy Rider at the beginning, and Peter Bogdanovich's They All Laughed, at the end. Peter Bogdanovich bought back the rights from the studio to his 1980 film and paid for its distribution out of his own pocket, convinced that the picture was better than what the studio believed — he eventually went bankrupt because of this. In retrospect, it can be seen that Steven Spielberg's Jaws (1975) and George Lucas's Star Wars (1977) marked the beginning of the end for the New Hollywood. With their unprecedented box-office successes, these movies jump-started Hollywood's blockbuster mentality, giving studios a new paradigm as to how to make money in this changing commercial landscape. The focus on high-concept premises, with greater concentration on tie-in merchandise (such as toys), spin-offs into other media (such as soundtracks), and the use of sequels (which had been made more respectable by Coppola's The Godfather Part II), all showed the studios how to make money in the new environment. On realizing how much money could potentially be made in films, major corporations started buying up the remaining Hollywood studios, saving them from the oblivion which befell RKO in the 50s. The corporate mentality these companies brought to the filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them. Like the original independents who fled the Edison Trust to form old Hollywood, the young film school graduates who had fled the studios to explore on-location shooting and dynamic, neo-realist styles and structures ended up replacing the tyrants they had sought to dislodge with a more stable and all-pervasive base of power. [edit]Outside of Hollywood Though many of the thematic changes which would resound through the American cinema of the 1970s would prominently feature heightened depictions of realistic sex and violence, those directors who wished to reach the audience which the old Hollywood once had quickly learned to stylize these actions in a way that made them appealing and attractive, rather than repulsive or obscene. However, at the same time that the maverick film students who would become the American new wave were developing the skills they would use to take over Hollywood, many of their classmates had begun to develop in a different direction. Influenced by foreign "art house" directors, (such as Ingmar Bergman and Federico Fellini) exploitation shockers (including Joseph P. Mawra) and those who walked the line between, (Kenneth Anger et al) a number of young film makers began to experiment with transgression not as a box-office draw, but as an artistic act. Directors such as John Waters and David Lynch would make a name for themselves by the early 70s for the bizarre and often disturbing imagery which characterized their films. When Lynch's first feature film, 1977's Eraserhead, brought Lynch to the attention of producer Mel Brooks, he soon found himself in charge of the $5 million film The Elephant Man for Paramount. Though Eraserhead was strictly an out-of-pocket, no-budget, independent film, Lynch made the transition with unprecedented grace. The film was a huge commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director. Seeing Lynch as a fellow studio convert, George Lucas, a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi. However, Lynch had seen what had happened to Lucas and his comrades in arms after their failed attempt to do away with the studio system. He refused the opportunity, stating that he would rather work on his own projects.[1] Lynch instead chose to direct a big budget adaptation of Frank Herbert's science fiction novel Dune for Italian producer Dino De Laurentiis's De Laurentiis Entertainment Group, on the condition that the company release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next Star Wars, Lynch's Dune (1984) was a critical and commercial dud, costing $45 million to make, and grossing a mere $27.4 million domestically. The producer was furious that he would now be forced to allow Lynch to make any kind of film he wanted. He offered Lynch only $6 million, reasoning that it would be best to let it be a small flop and be rid of the director. However, the film was a resounding success. Lynch subsequently returned to his independent roots, and did not work with another major studio for over a decade. John Waters, on the other hand, proved too hot to handle for the major studios. Distributing his films locally though a production company of his own creation known as Dreamland Productions, Waters defied the mainstream completely until the early 80s, when the fledgling New Line Cinema agreed to work with him on Polyester. During the 80s, Waters would become a pillar of the New York based independent film movement known as the "Cinema of Transgression," a term coined by Nick Zedd in 1985 to describe a loose-knit group of like-minded New York artists using shock value and humor in their work. Other key players in this movement included Kembra Pfahler, Casandra Stark, Beth B, Tommy Turner, Richard Kern and Lydia Lunch. Rallying around such institutions as the Film-Makers' Cooperative and Anthology Film Archives, this new generation of independents devoted themselves to the defiance of the now-establishment New Hollywood, proposing that "all film schools be blown up and all boring films never be made again."[2] [edit]The Sundance Institute Main article: Sundance Institute In 1978, Sterling Van Wagenen and Charles Gary Allison, with Chairperson Robert Redford, (veteran of New Hollywood and star of Butch Cassidy and the Sundance Kid) founded the Utah/US Film Festival in an effort to attract more filmmakers to Utah and showcase what the potential of independent film could be. At the time, the main focus of the event was to present a series of retrospective films and filmmaker panel discussions; however it also included a small program of new independent films. The jury of the 1978 festival was headed by Gary Allison, and included Verna Fields, Linwood Gale Dunn, Katherine Ross, Charles E. Sellier Jr., Mark Rydell, and Anthea Sylbert. In 1981, the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. In 1985, the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival, which was experiencing financial difficulties. Gary Beer and Sterling Van Wagenen spearheaded production of the inaugural Sundance Film Festival which included Program Director Tony Safford and Administrative Director Jenny Walz Selby. In 1991, the festival was officially renamed the Sundance Film Festival, after Redford's famous role as The Sundance Kid. [4]. Through this festival, such notable figures as Kevin Smith, Robert Rodriguez, Quentin Tarantino, Paul Thomas Anderson, Steven Soderbergh, James Wan and Jim Jarmusch garnered resounding critical acclaim and unprecedented box office sales. In 2005, about 15% of the U.S. domestic box office revenue was from independent studios.[5] [edit]Present day and digital filmmaking Today, due to the large volume of inexpensive, high end digital film equipment available at the consumer level, independent filmmakers are no longer dependent on major studios to provide them with the tools they need to produce a film. Post production has also been simplified by non-linear editing software available for home computers. While most of the current U.S. film industry is located in Los Angeles, one-third of all independent films in the U.S. are still produced in New York City, where the first independent filmmakers began the resistance to the Edison Trust.[citation needed] Presently, all five of the Golden Age majors continue to exist as major Hollywood studio entities through 2008. Their output is still marked by familiar stories and conservative choices in cast and crew. Companies such as Lucasfilm continue to exist, co-financing their productions and partnering with Big Six studios for distribution. In fact, co-financing has become a growing trend in modern day Hollywood, with over two-thirds of the films put out by Warner Bros. in 2000 being funded as joint ventures, up from 10% in 1987.[6] In an effort to cash in on the present day boom in independent film, today's Big Six major studios, have created a number of independent-flavored subsidiaries, designed to develop less commercial, more character driven films which appeal to the growing art house market. These include MGM, UA (under MGM), New Line Cinema, HBO Films, Castle Rock Entertainment, DreamWorks SKG, Sony Pictures Classics, Fox Searchlight, Miramax Films, Warner Independent, Picturehouse, Paramount Classics/Paramount Vantage, Go Fish Pictures (under DreamWorks), Focus Features, Screen Gems, TriStar Pictures, Destination Films, Fox Faith, Fox Atomic, Hollywood Pictures, and Rogue Pictures. The increasing popularity and feasibility of low-budget films over the last 15 years has led to a vast increase in the number of aspiring filmmakers -- people who have written spec scripts and who hope to find several million dollars to turn that script into an independent film sensation like Reservoir Dogs, Little Miss Sunshine, or Juno. These aspiring filmmakers often work day-jobs while they pitch their scripts to independent film production companies, talent agents, and wealthy investors. Their dream seems much more attainable than before the independent film revolution because these novice filmmakers no longer need to gain the backing of a major studio and access to perhaps a hundred million dollars to make their film. (See the filmmaking documentary Dreams on Spec) Independent movie-making has also resulted in the proliferation and repopularization of short films and short film festivals. Full-length films are often showcased at film festivals such as the Sundance Film Festival, the Slamdance Film Festival, the South By Southwest film festival, the Raindance Film Festival, ACE Film Festival, or the Cannes Film Festival. Award winners from these exhibitions are more likely to get picked up for distribution by major film studios. The following studios are considered to be the most prevalent of the modern independent studios (they are used to produce/release independent films and foreign-language films in America): Lions Gate Films IFC Films Samuel Goldwyn Films Warner Independent Pictures The Weinstein Company/Dimension Films Magnolia Pictures Palm Pictures Tartan Films Newmarket Films Picturehouse (formerly Fine Line Features, before Time Warner acquired Newmarket's distribution arm, and merged it with Fine Line to form Picturehouse, a joint venture of HBO and New Line Cinema) ThinkFilm Troma Entertainment First Look Studios Image Entertainment In addition to these higher profile "independent" studios there are thousands of smaller production companies that produce truly independent films every year. These smaller companies look to regionally release their films theatrically or for additional financing and resources to distribute, advertise and exhibit their project on a national scale. The direct-to-video market is not often noted as artistically fertile ground but among its many entries are ambitious independent films that either failed to achieve theatrical distribution or did not seek it. Moving forward, particularly as theatrical filming goes digital and distribution eventually follows, the line between "film," direct-to-disc productions, and feature-length videos whose main distribution channel is wholly electronic, should continue to blur. [edit]Technology and independent films today The independent film scene's development in the 1990s and 2000s has been stimulated by a range of factors, including the development of affordable high-definition digital video cameras that can rival 35 mm film quality and easy-to-use computer editing software. Back to top Fawad Joined: 12 Oct 2007 Posted: Fri Jul 04, 2008 5:57 pm Post subject: Until the advent of digital alternatives, the cost of professional film equipment and stock was a major obstacle to independent filmmakers who wanted to make their own films. The cost of 35 mm film is steadily rising: in 2002 alone, film negative costs were up 23%, according to Variety.[6] Studio-quality filming typically required expensive lighting and post-production facilities. But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-definition digital video in the early 1990s, have since lowered the technology barrier to movie production considerably. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVD, FireWire connections and professional-level non-linear editing system software make movie-making relatively inexpensive. The first independent film released on HD DVD was One Six Right on November 1, 2006.[7][8][9] Popular software (including commercial, consumer level and open source) includes: Mac OS X iMovie Final Cut Express Final Cut Pro Avid Xpress Pro Adobe Premiere Pro Final Cut Studio Effects Lab Pro Windows Windows Movie Maker Avid Xpress Pro Avid FreeDV Sony Vegas Adobe Premiere Pro Canopus EDIUS Pro Effects Lab Pro Linux Cinelerra Kino Popular digital camcorders, mostly semi-professional equipment with 3-CCD technology, include: Canon HD: XL H1, XH G1, XH A1, HV20 SD: XL2, XM2, GL2 JVC HD: GY-HD100 Panasonic HD: AG-HVX200, HPX-170 SD: AG-DVX100,AG-DVX100A, AG-dvx100B RED HD: Red One, Scarlet, EPIC Sony PD-170, DCR-VX1000, VX 2000, HVR-Z1U, HVR-V1, HDR-FX7 Most of these camcorders cost between US$2,000–$5,000 in 2003, with costs continuing to decline as features are subtracted, and as models depreciate. Additionally, open source software holds the potential for increasing high-level editing capabilities being available for also increasingly lower prices, both for free and paid software. [edit]Further reading Lyons, Donald (1994). Independent Visions: A Critical Introduction to Recent Independent American Film. Ballantine Books. ISBN 0-345-38249-8. Vachon, Christine (1996). A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Simon & Schuster. ISBN 0-7432-5630-1. Redding, Judith; Brownworth, Victoria (1997). Film Fatales: Independent Women Directors. Seal Press. ISBN 1-878067-97-4. Levy, Emanuel (1999). Cinema of Outsiders: The Rise of American Independent Film. New York University Press. ISBN 0-8147-5123-7. Merritt, Greg (2000). Celluloid Mavericks: The History of American Independent Film. Thunder's Mouth Press. ISBN 1-56025-232-4. Biskind, Peter (2004). Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Simon & Schuster. ISBN 0-684-86259-X. Pierson, John (2004). Spike Mike Reloaded. Miramax Books. ISBN 1-4013-5950-7. Levy, Emanuel (2001). Cinema of Outsiders: The Rise of American Independent Film. NYU Press. ISBN-13 978-0814751244. 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and sell independent films & music self-distribute your own films online showcase your film, script, music, acting, artwork publish your essay, MA & Phd thesis online chat with filmmakers communicate & collaborate For Writers, Actors, Directors, Producers,Music Composers, Artists and everybody interested in the World of Film. www.filmbay.com FILMBAY By the mid 1960s, RKO had collapsed completely, and the remaining four of big five had recognized that they did not know how to reach the youth audience. Foreign films, especially European and Japanese cinema, were experiencing a major boom in popularity with young people, who were interested in seeing films with non-traditional subjects and narrative structures. An added draw for such films was that they, like the American independents, were unencumbered by the production code. In an attempt to capture this audience, the Studios hired a host of young filmmakers (many of whom were mentored by Roger Corman) and allowed them to make their films with relatively little studio control. In 1967, Warner Bothers offered first-time producer Warren Beatty 40% of the gross on his film Bonnie & Clyde instead of a minimal fee. The movie proceeded to gross over $70 million world-wide by 1973. This initial successes paved the way for the studio to relinquish almost complete control to the film school generation and began what the media dubbed "New Hollywood." Each take of a shot follows a slating procedure and is marked on a clapperboard, which helps the editor keep track of the takes in post-production. The clapperboard records the scene, take, director, director of photography, date, and name of the film written on the front, and is displayed for the camera. The clapperboard also serves the necessary function of providing a marker to sync up the film and the sound take. Sound is recorded on a separate apparatus from the film and they must be synched up in post-production. The director will then decide if the take was acceptable or not. The script supervisor and the sound and camera teams log the take on their respective report sheets. Every report sheet records important technical notes on each take. By the mid 1960s, RKO had collapsed completely, and the remaining four of big five had recognized that they did not know how to reach the youth audience. Foreign films, especially European and Japanese cinema, were experiencing a major boom in popularity with young people, who were interested in seeing films with non-traditional subjects and narrative structures. An added draw for such films was that they, like the American independents, were unencumbered by the production code. In an attempt to capture this audience, the Studios hired a host of young filmmakers (many of whom were mentored by Roger Corman) and allowed them to make their films with relatively little studio control. Final Cut Express Final Cut Pro Avid Xpress Pro Adobe Premiere Pro Final Cut Studio Effects Lab Pro Windows Windows Movie Maker Though these decisions succeeded at legalizing independent film, they would do little to remedy the de facto ban on small productions; the independent filmmakers who had fled to Southern California during the enforcement of the trust had already laid the groundwork for the studio system of classical Hollywood cinema. The clapperboard records the scene, take, director, director of photography, date, and name of the film written on the front, and is displayed for the camera. The clapperboard also serves the necessary function of providing a marker to sync up the film and the sound take. Sound is recorded on a separate apparatus from the film and they must be synched up in post-production. The director will then decide if the take was acceptable or not.

Stages of filmmaking Development. The script is written and drafted into a workable blueprint for a film. Pre-production. Preparations are made for the shoot, in which cast and crew are hired, locations are selected, and sets are built. Production. The raw elements for the finished film are recorded. Post-production. The film is edited; music tracks (and songs) are composed, performed and recorded; sound effects are designed and recorded; and any other computer-graphic 'visual' eåffects are digitally added, and the film is fully completed. Sales and distribution. The film is screened for potential buyers (distributors), is picked up by a distributor and reaches its theater and/or home media audience. Development This is the stage where an idea is fleshed out into a viable script. The producer of the movie will find a story, which may come from books, plays, other films, true stories, original ideas, etc. Once the theme, or underlying message, has been identified, a synopsis will be prepared. This is followed by a step outline, which breaks the story down into one-paragraph scenes, concentrating on the dramatic structure. Next, a treatment is prepared. This is a 25 to 30 page description of the story, its mood and characters, with little dialog and stage direction, often containing drawings to help visualize the key points. The screenplay is then written over a period of several months, and may be rewritten several times to improve the dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which are assessed through a process called script coverage. A film distributor should be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors will adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film and the potential directors of the film. All these factors imply a certain appeal of the film to a possible audience and hence the number of "bums on seats" during the theatrical release. Not all films make a profit from the theatrical release alone, therefore DVD sales and worldwide distribution rights need to be taken into account. The movie pitch is then prepared and presented to potential financiers. If the pitch is successful and the movie is given the "green light", then financial backing is offered, typically from a major film studio, film council or independent investors. A deal is negotiated and contracts are signed. Pre-production In pre-production, the movie is designed and planned. The production company is created and a production office established. The production is storyboarded and visualized with the help of illustrators and concept artists. A production budget will also be drawn up to cost the film. The producer will hire a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of thousands while a low-budget, independent film may be made by a skeleton crew of eight or nine. Typical crew positions include: The director is primarily responsible for the acting in the movie and managing the creative elements. The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks. The casting director finds actors for the parts in the script. This normally requires an audition by the actor. Lead actors are carefully chosen and are often based on the actor's reputation or "star power." The location manager finds and manages the film locations. Most pictures are shot in the predictable environment of a studio sound stage but occasionally outdoor sequences will call for filming on location. The production manager manages the production budget and production schedule. He or she also reports on behalf of the production office to the studio executives or financiers of the film. The director of photography (DP or DOP) or cinematographer creates the photography of the film. He or she cooperates with the director, director of audiography (DOA) and AD. The art director manages the art department, which makes production sets The production designer creates the look and feel of the production sets and props, working with the art director to create these elements. The costume designer creates the clothing for the characters in the film working closly with the actors, as well as other departments. The make up and hair designer works closely with the costume designer in addition to create a certain look for a character. The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team. The production sound mixer manages the audio experience during the production stage of a film. He or she cooperates with the director, DOP, and AD. The sound designer creates new sounds and enhances the aural feel of the film with the help of foley artists. The composer creates new music for the film. The choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a fight choreographer. Production Sesame Workshop crews film an improvised segment of Sesame Street, a children's series, on location in Washington Square Park in New York City. In production the movie is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit a particular film. A typical day's shooting begins with an assistant director following the shooting schedule for the day. The film set is constructed and the props made ready. The lighting is rigged and the camera and sound recording equipment are set up. At the same time, the actors are wardrobed in their costumes and attend the hair and make-up departments. The actors rehearse their scripts and blocking with the director. The picture and sound crews then rehearse with the actors. Finally, the action is shot in as many takes as the director wishes. Each take of a shot follows a slating procedure and is marked on a clapperboard, which helps the editor keep track of the takes in post-production. The clapperboard records the scene, take, director, director of photography, date, and name of the film written on the front, and is displayed for the camera. The clapperboard also serves the necessary function of providing a marker to sync up the film and the sound take. Sound is recorded on a separate apparatus from the film and they must be synched up in post-production. The director will then decide if the take was acceptable or not. The script supervisor and the sound and camera teams log the take on their respective report sheets. Every report sheet records important technical notes on each take. When shooting is finished for the scene, the director declares a "wrap." The crew will "strike," or dismantle, the set for that scene. The director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. For productions using traditional photographic film, the unprocessed negative of the day's takes are sent to the film laboratory for processing overnight. Once processed, they return from the laboratory as dailies or rushes (film positives) and are viewed in the evening by the director, above the line crew, and, sometimes, the cast. For productions using digital technologies, shots are downloaded and organized on a computer for display as dailies. When the entire film is in the can, or in the completion of the production phase, the production office normally arranges a wrap party to thank all the cast and crew for their efforts. Post-production Here the film is assembled by the film editor. The modern use of video in the filmmaking process has resulted in two workflow variants: one using entirely film, and the other using a mixture of film and video. In the film workflow, the original camera film (negative) is developed and copied to a one-light workprint (positive) for editing with a mechanical editing machine. An edge code is recorded onto film to locate the position of picture frames. Since the development of non-linear editing systems such as Avid, Quantel or Final Cut Pro, the film workflow is used by very few productions. In the video workflow, the original camera negative is developed and telecined to video for editing with computer editing software. A timecode is recorded onto video tape to locate the position of picture frames. Production sound is also synced up to the video picture frames during this process. The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual "takes" (shots). The purpose of the rough cut is to select and order the best shots. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming, the process of shortening scenes by a few minutes, seconds, or even frames, is done during this phase. After the fine cut has been screened and approved by the director and producer, the picture is "locked," meaning no further changes are made. Next, the editor creates a negative cut list (using edge code) or an edit decision list (using timecode) either manually or automatically. These edit lists identify the source and the picture frame of each shot in the fine cut. Back to top Fawad Joined: 12 Oct 2007 Posted: Fri Jul 04, 2008 4:07 pm Post subject: Once the picture is locked, the film passes out of the hands of the editor to the sound department to build up the sound track. The voice recordings are synchronised and the final sound mix is created. The sound mix combines sound effects, background sounds, ADR, dialogue, walla, and music. The sound track and picture are combined together, resulting in a low quality answer print of the movie. There are now two possible workflows to create the high quality release print depending on the recording medium: In the film workflow, the cut list that describes the film-based answer print is used to cut the original colour negative (OCN) and create a colour timed copy called the colour master positive or interpositive print. For all subsequent steps this effectively becomes the master copy. The next step is to create a one-light copy called the colour duplicate negative or internegative. It is from this that many copies of the final theatrical release print are made. Copying from the internegative is much simpler than copying from the interpositive directly because it is a one-light process; it also reduces wear-and-tear on the interpositive print. In the video workflow, the edit decision list that describes the video-based answer print is used to edit the original colour tape (OCT) and create a high quality colour master tape. For all subsequent steps this effectively becomes the master copy. The next step uses a film recorder to read the colour master tape and copy each video frame directly to film to create the final theatrical release print. Finally the film is previewed, normally by the target audience, and any feedback may result in further shooting or edits to the film. Distribution and Exhibition This is the final stage, where the movie is released to cinemas or, occasionally, to DVD, VCD or VHS (though VHS tapes are less common now that more people own DVD players). The movie is duplicated as required for distribution to theaters. Press kits, posters, and other advertising materials are published and the movie is advertised. The movie will usually be launched with a launch party, press releases, interviews with the press, showings of the film at a press preview, and/or at film festivals. It is also common to create a website to accompany the movie. The movie will play at selected cinemas and the DVD is typically released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. Any profits are divided between the distributor and the production company. Independent Filmmaking Back to top Fawad Joined: 12 Oct 2007 Posted: Fri Jul 04, 2008 4:08 pm Post subject: Main article: Independent film Filmmaking also takes place outside of the studio system and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films; many filmmakers post their films online for critique and recognition. Although there is little profitability in this, a filmmaker can still gain exposure via the web. Main article: Independent film Filmmaking also takes place outside of the studio system and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films; many filmmakers post their films online for critique and recognition. Although there is little profitability in this, a filmmaker can still gain exposure via the web. filmbay 2008 part1 However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films; many filmmakers post their films online for critique and recognition. Although there is little profitability in this, a filmmaker can still gain exposure via the web.





fim and film video filmbay distribution

Although there is little profitability in this, a filmmaker can still gain exposure via the web. filmbay 2008 part1 However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution.

A recent situation in which I came into conflict with my immediate manager had to do with a proposal I put forward to provide disaster recovery facilities to our clients. The basic principle behind disaster recovery is that should a client site be destroyed or damaged to the point where the IT infrastructure is no longer serviceable, the disaster recovery "supplier" will provide hardware, facilities and infrastructure to enable critical work to continue. The facility would usually also provide technical expertise if required, to build the server environment at the recovery site. Many of our clients have existing contracts with disaster recovery companies, who generally only provided hardware and premises in the event of a disaster. These facilities usually cost between &pound;20 000 and &pound;40 000 per annum for a relatively small client. In all cases our own technicians are responsible for the commissioning of the recovery site and I saw a lucrative opportunity to provide a similar service at a reduced price. The first step in the investigation process was to perform a risk analysis to identify the risks and benefits of providing such a service. Market I quickly ascertained that there was a need for a disaster recovery service by making enquiries with new and existing clients. Overall the opinion was that it would be advantageous to have all IT services from the same provider. Availability of Clients In order to put some weight behind my argument, I wanted to go to my manager with at least one prospective client. After querying existing clients, I determined that one was due to renew their current disaster recovery contract. After consultation with the client I received an enthusiastic response to my proposal. Costs Surprisingly the costs of the new venture were quite low. The cost of the equipment required in order to support the client, was less than the annual disaster recovery payment. This hardware and infrastructure could potentially be used to support two or three clients, thereby providing a very cost effective. The conflicts that occur are seldom very serious, and generally run their course, usually having positive effects rather than negative. When discussed between involved parties, conflicts are usually resolved quickly, but the reasons never seem to be cleared up completely, thus causing conflicts to re-occur. Possible Sources of Conflict There are various sources of conflict that could have resulted from my manager's attitude toward my proposal: Differences in Values and Beliefs My manager had very definite ideas about where his department should be going. He felt that providing disaster recovery services was not our "core business", whereas I felt that it should have been an integral part of the services we were offering. I felt that my proposal and the responses from existing clients proved that fact. My manager also felt that our company could be putting itself into a delicate situation by taking on the responsibility of recovering a site and restoring data. From my point of view we were already responsible for the recovery of the data, but on an infrastructure provided by a third party supplier. I personally felt that my manager had very little idea of the technical requirements of my clients as he had been out of the technical field for many years; he, however, felt he was on the leading edge of technology. Differences in Interest Although I though that my manager and I had similar interests, I think he felt that if my idea was successful, it would reflect badly on him. Although I did not intent to make my manager "look bad", I did feel that this project could enhance my career, and provide an added service for my clients. Management felt that they would prefer to pursue a strategy of consultancy, rather than one of shared resources. This strategy ensures that staff are employed as and when they are needed and theoretically eliminates "dead wood". I on the other hand felt that a core of highly qualified well managed consultants could provide valuable services if they were available on a consultancy basis for all clients i.e. shared. Interestingly enough, most of the technical consultants were sympathetic to my cause, largely I feel because of their first hand knowledge of the requirements of our clients. Interpersonal Differences Although I did get along well with my manager, I had a problem with his attitude toward many of our clients. I felt that he was a bit too "casual" and came across as very arrogant. Companies in the UK are generally very conservative, and do not appreciate a casual attitude to their business, particularly from a foreigner. My manager did not seem to see this as being a problem. Feelings and Emotions I did feel strongly that my proposal was well researched and presented. By dismissing it as "not our business" with virtually no discussion, I did feel that I was not being taken seriously and that I had wasted my time and effort. I also felt resentful that someone who appeared quite disconnected from our "core business" was deciding the course of the department. Strategies After having spent a lot of time preparing my proposal, my initial reaction to it's reception, was to ignore the response from my manager and never try and be proactive ever again! This was obviously an extremely childish reaction, so I decided to apply various strategies to make my manager "see the light". Allowing I decided to try and discuss my proposal with my manager and attempt to reach some sort of "middle ground". To be fair, my manager did allow a lot of discussion with regards the pros and cons of the disaster recovery proposal. He really made me look at all my points in minute detail, an exercise that gave me a fresh perspective on the issue. My manager also invited a senior manager to the discussion, whose presence seemed to diffuse the tension between my manager and myself. Although I still did not fully agree with the outcome of these discussions, I did get more insight as to why my proposal was being rejected. Reducing or Containing It was quite apparent during the course of our discussions that my manager was trying to reduce the conflict that had arisen due to my proposal. I think that initially he tried to persuade me from pursuing my idea by pointing out where it was in conflict with the aims of the organisation. When this approach failed, he asked the senior manager to act as a mediator. At this time I resolved to keep my plan in mind for the future, as it was obviously not going to be accepted at this time. Conclusion As it turned out, the company's long term plans have resulted in a total re- structuring of the management infrastructure. I do not think this would have happened if not for various sources of conflict within the company. The disaster recovery plan is now being championed by my new manager, and has, ironically, been well received by senior management. I feel that my approach to the proposal was very sound. I did a lot of research that allowed my company to have a clear view of the advantages and disadvantages of my proposal, facts that have ensured that it is now being taken seriously. The conflict that resulted between my manager and myself would probably not have been avoided, but I feel he should have called for mediation sooner; indeed, I should probably have asked for it. I am quite stubborn, and that combined with my manager's attitude was bound to result in conflict. I think that a more thorough investigation into the company's goals would have been to my advantage. This would have allowed me to aim my proposal more appropriately. Obviously at the time of the conflict I was not aware of the various strategies, and many of the reasons for conflict, apart from a vague awareness that something was not quite right. At the time of the conflict I felt that I had lost, but ultimately, I think that both the company and myself will benefit from this experience. Authors: Bob Watson, Jane Watson, Co-Athors. Re: Article Notes, filmbay /log 3892f /logs IX31 2008 No rights reserved.3business12evtax7

Should the government of Canada continue to support the universality of social services by increasing the proportion of salaries given to income tax? This question hits a very touchy spot for all Canadians because some agree that a higher portion of an individual's salary should go to income tax, so a better standard of living could be made by all Canadians, instead of just to the financially blessed class of society. They believe that by the Canadian government doing so, it would limit the greed in our society, and make for a better feel of equality. Then there are those Canadians' who believe government should not increase the proportion of their salaries given to income tax because they believe the government should help encourage Canadians to be more independent, instead of depending on the government for all of their basic needs and wants. They believe that when they go out and make their hard earned money, they should be able to keep it, instead of giving most of it away, so people that sit at home all day, even though fully capable of getting a good job, have the same benefits as themselves. My position on this issue would have to be with the Canadians who don't believe in the government increasing the proportion of salaries to income tax. I believe every man for himself. What an individual earns, he deserves, because he worked hard for his pay. It's not that I don't agree with government intervention, I do, I just believe it should be trying to help its people become more independent, instead of 100% dependant on its government. For almost sixty years the Swedish economy was looked upon and admired for its high standard of living. Everything, you name it, they had it. They had a system called cradle-to-grave welfare system, and it promised almost everybody employment. Everybody was guaranteed a free post secondary education and the same went with health care and pension plans. People looking in on the country would be lead to believe Swedes didn't have a care in the world. In order for the Sweden economy to work as well as it did, Swedes had to pay 70% of personal taxes, which was the highest rate for personal taxes in all of the industrial worlds. What seemed to be a system with no flaws in it became evident that it was "too good to be true," the Swedish government had pampered its people so much, Swedes soon became dependant on its government and not on themselves. Four out of ten workers were employed by the government, workers not being present for work were very high, low productivity was being experienced in the export industries, vacations and other allowance benefits were very costly, economic slumps was reducing the base tax the social programs needed to pay for and the government deficit was increasing. In the end, when the government tried to reduce, the government spending Swedes weren't able to deal with their new given independence, and sure enough, high unemployment became one of many of their problems. Looking at Sweden as a case study, I think that is enough to discourage the Canadian government from increasing the proportion of salaries given to income tax to support the universality of social services. If Canada was to do so, it would only promote Canadians to be dependant on their government and not on themselves. Instead of increasing income tax to support social services, the government should introduce programs to help Canadians to budget their income to balance their wants and needs. Through the case study on Sweden we learnt that by the government increasing the proportion of salaries given to income tax to support the universality of social services, which in the long run it doesn't really benefit the citizens, but only sets them back, and teaches them that they don't ever really have to face the responsibilities that come with adulthood. Authors: Bob Watson, Jane Watson, Co-Athors. Re: Article Notes, filmbay /log 3892f /logs IX31 2008 No rights reserved.12s4tax3

The other question that can be raised is whether a low Canadian dollar is beneficial for the greater good of Canadians. In fact, there are several benefits of a low Canadian dollar. For example, a lower Canadian dollar makes import purchases more expensive, which will encourage Canadians to buy Canadian products and in turn help the domestic economy. Furthermore, a low Canadian dollar is also good for tourism, because Canada becomes a more affordable destination for U.S. travelers. However, over a longer period of time there are repercussions, because of “the increase in import prices, a falling Canadian dollar contributes to an increase in consumer prices, and thus inflation.” The Bank of Canada may need to increase interest rate to control rising inflation. This comes at a cost to the entire economy. Moreover, a declining dollar would cause an increase in Canadian living cost and over a long-term period Canadian competitiveness would decrease, since Canada would not be able to keep up with the other nations. Therefore, certainly in reality there are more benefits in sustaining and improving the value of the Canadian dollar. In the last ten years, the value of the Canadian dollar has been spiraling downwards created incredible problems that are not being fully attended to by the Canadian government. In fact, recent data from December 2002 indicates that the dollar continues to fall. For example, “the dollar ended the day at 63.71 cents (U.S.), 0.91 cents lower than its close on Tuesday, the last full day of trading before the two-day Christmas and Boxing Day holidays in Canada.” Traders have been fleeing the dollar this week as concerns grow of a possible U.S. led attack on Iraq. News from North Korea that the country's officials were moving to expel United Nations nuclear inspectors and reactivate a laboratory able to produce weapons-grade plutonium also worked against the currency. “‘The Canadian dollar tends to get bruised and battered during periods of heightened global tensions,’ said Derek Burleton, senior economist at Toronto-Dominion Bank.” These growing international problems are not aiding the cause of the Canadian dollar, therefore, the government, at municipal, provincial and federal level must take some form of action and measure to secure the Canadian economy and currency. Canada has been increasing its prestige as a high-tech, industrial, society since the end of World War II. In many ways it resembles very closely its southern North American cousin, the United States. Some of those similarities are residing in its market-orientated system, pattern of production, and its high standard of living. Most years following the war up to the present, Canada has experienced some kind of continued growth as a prosperous and developed country. However, during the year of 1998, Canada experienced an unexpected large depreciation in their dollar relative to the United States. Late in August of that year, in fact, the value reached an all-time low. During this paper, I will try to present some of the possible economic factors that may or may not have led to this change in Canada’s exchange rate. I will also examine some additional analysis and theories as to why the trend possibly occurred. Exchange Rate As the year 1998 approached, the trend for the Canadian dollar was on a steady decrease in value in relation to the U.S. dollar. With each passing year the dollar lost some value as the table below demonstrates. Year 1990 1995 1996 1997 1998 Exchange Rate 1.16 1.38 1.36 1.38 1.48 *All data tables extrapolated from the Cambridge Forecasts Country Report, unless otherwise noted. It took an exceptional hit during the year, moving the rate from 1.38 U.S. dollars to 1.48 in U.S. dollars. The plunge is better exhibited in Appendix 1, with the sharp decrease of the dollar illustrated graphically and more specifically, with Appendix 2 showing the drop throughout the year of 1998 alone. Growth Rate In terms of growth rate, the years leading up to the exchange rate drop in 1998 showed very typical numbers. There was nothing out of the ordinary, or anything to hint at a sharp decrease in the value of the Canadian dollar. As highlighted below, up to 1998, the economy was growing at a slow but steady rate each year. Both the Total Gross Domestic Product and percentage of GDP real growth were increasing overall. Year 1990 1995 1996 1997 1998 GDP (bill. of U.S. $) 573966 584044 611602 631193 603978 Year 1990 1995 1996 1997 1998 GDP Real Growth (%) N/A 2.3 1.6 3.7 3.1 However as the numbers for 1998 indicate, the depreciation of the dollar definitely took a significant chunk out of the Total Gross Domestic Product, dropping it below 1996’s levels. This is to be expected as a depreciated currency would effect the value of the products, however as pointed out before, nothing in growth rate eluded to the depreciation that took place in 1998. Inflation Rate Similar to the growth rate, the inflation rate also had nothing to offer in terms of an indication of the lowering exchange rate. In fact, as highlighted below, the inflation rate was steadily declining as 1998 approached. A trend usually linked to a healthy economy overall. Year 1990 1995 1996 1997 1998 Consumer Price Inflation N/A 2.2 1.5 1.6 1.0 Even the figures from 1998 indicate, the inflation rate seemed to be unaffected by the depreciation of the Canadian currency. “…that (increase in) performance (of Canadian companies), is due almost entirely to the depreciation of the currency and, to a much lesser extent, to the lower inflation that Canada has experienced during the last decade…” Therefore using the inflation rate as an economic indicator in this case is not always conclusive to the ideal that the dollar should have been in good shape, with a thriving economy. Dollar Reserves Again, looking at the numbers of dollar reserves, no significant trend seems to point in the direction of increased weakening. Year 1994 1995 1996 1997 1998 Dollar Reserves (mil of U.S. $) 392 -2710 -5498 2392 N/A The fluctuations in the numbers seem to be quite normal and constant throughout Canada’s time of both economic prosperity and slowdown. Trade Balance The trade balance however starts to show a different story. The numbers up to 1997 look very healthy with the amount of exports far outweighing the imports. 1997 spelled a big decrease in the trade balance and the numbers from 1998 show much of the same. Year 1994 1995 1996 1997 1998 Exports (mil of U.S. $) 228,167.10 265,333.90 279,891.80 301,381.40 322,262.40 Imports (mil of U.S. $) 207872.50 229936.50 237917.20 277707.80 303399.70 Trade Balance 20294.60 35397.40 41974.60 23673.60 18862.70 *Data extrapolated from CANISM, Statistics Canada’s online statistical database But as Appendix 1 indicates, 1997 was the beginning of the gradual decent of the Canadian dollar, until it reached it’s low in August of 1998. This translates to the relatively more expensive foreign products (imports), as Canada’s ability to purchase and make good on its domestic products (exports) being sold overseas decreases. In other words, the cost to buy foreign products rose while the amount of money taken in on imports when converted to their currency fell. This is again demonstrated as you look at the amount of exports. It continues rise, but not as quickly due to the lower exchange rate. Couple that with higher prices paid for the imports equals a significant decrease in the trade balance. The balance in 1998, in fact, was lower than the balance in 1994. Interest Rates A final economic indicator that helps us to explain the reasons behind the exchange rate drop is to look at a few of the key interest rates in the economy in and around that time. Year 1995 1996 1997 1998 1999 Bank Rate 7.31 4.53 3.52 5.1 4.91 Prime Business Loan Rate 8.65 6.06 4.96 6.6 6.43 Consumer Loan Rate 11.88 9.19 8.75 9.27 10.18 *Data extrapolated from CANISM, Statistics Canada’s online database As exhibited with the figures, there is serious decrease in all of these interest rates from 1995 to 1996. “1998 started off well enough, but by mid-year the optimism was being abruptly clouded by a decreasing currency, which seemed to be related to the low rates of interest being charged.” This decrease demonstrates a strong economy at this time, but with them being too low, it causes a capital inflow to the country, in turn making the currency’s value depreciate as more of it is supplied and demanded. The trend in 1997 and 1998 indicates that the interest rates are starting to climb again with hopes to regain the original strength the dollar. Other Factors Besides these basic economic indicators two other main factors influenced the depreciation of the Canadian dollar. The first of these resting in the hands of the Federal government’s action, or as some would put it, lack of action. The Prime Minister and finance minister did nothing in terms of trying to stop this devaluation of the dollar. In fact, they encouraged it. Their thinking was that a weakening dollar would reduce the labor costs of many companies, therefore increasing the amount production and increasing margins. The opposite occurred. With the lower value of the dollar, companies were less motivated to innovate and reduce costs because they were so sheltered by the strong foreign competition. The weaker dollar also raises the price of machinery and equipment, which of it, 60% is imported. With these factors comes a decrease in competition with the foreign firms and overall decrease in the health of the country. Jeff Rubin, an economist at CIBC World Markets agrees that this depreciation in the currency has also had a “huge erosion in competitiveness.” Mr. Rubin also agrees that the lack of action taken by the government has hurt competitiveness. “…the protective aspect of the a weak dollar is to blame for the plunge in competitiveness and that the currency’s devaluation was engineered by the Bank (of Canada).” Yet another source has the same opinion, “The dollar’s decline was intensified by the Bank of Canada’s benign neglect through early August (1998) and the apparent indifference expressed by the government.” Some would also argue that tied along with this deterioration in competitiveness, is the influence the Asian currency crisis had on the Canadian dollar. The depreciation of the dollar was one of the most visible impacts that crisis in Asia had on Canada’s economy. The crisis over there demonstrated a lower demand and prices for commodities, not to mention the perception of Canada being able to compete in the global market. It also caused other countries to question its other policy and structural issues that take away from the country’s attractiveness to investors. Conclusion To conclude, the depreciation of the Canadian dollar had many influences hinging upon it. Some of the key economic indicators were unfazed by the devaluation, while others were heavily affected. These and the outside factors of the Canadian government’s ignorance of the problem and the Asian currency crisis all added to the already confusing mix of speculations. A quote in the article by Janet Matthews ties it altogether best, “…if we have learned anything from the last 18 months, it is that only the longest of perspectives is likely to be of any use when looking a Canada’s economy. This period since May 1998 has been characterized by so many ups and downs that it is easy to jump to conclusions when looking at economic performance statistics.” Many economists did. They believed that this depreciation would cause a long term economic slowdown for Canada but as current facts indicate, the dollar has regained some of its strength and contrary to predictions, the economy is again growing and improving at a steady rate. Authors: Bob Watson, Jane Watson, Co-Athors. Re: Article Notes, filmbay /log 3892f /logs IX31 2008 No rights reserved.h31qecon5casnada

Canada has been transformed in recent years into an information based society. Nearly half of the labour force in Canada works in occupations involving the collection and processing of information. In a society in which information has become a commodity, communications provide a vital link that can mean the difference between success or failure. Telecommunications is a fundamental infrastructure of the Canadian economy and society. For these reasons, an efficient and dynamic telecommunications industry is necessary to ensure economic prosperity. Deregulating the Long Distance Industry is the only sure way to ensure that prosperity. Telecommunications in Canada, which include services and manufacturing, employ more than 125,000 people and generate over $21 billion in revenues (Dept. of Communications, 1992, p7). Telecommunications helps to overcome the obstacles of distance in a vast country such as Canada, permitting remote communities to benefit from services taken for granted in large urban centres. More than 98 percent of Canadian households have a telephone, and there are more than 15 million telephone lines for a population of nearly 27 million(Dept. of Communications, 1992, p7). It is therefore not surprising that Canadians are among the biggest users of telecommunications in the world. For example, in 1990, Canadians made more than three billion long-distance calls (Dept. of Communications, 1992, p8). Innovations made possible through telecommunications have also contributed significantly to the phenomenal growth of the Canadian telecommunications industry. For example, the total value of the major telephone companies' investment in their facilities rose from $17.8 billion in 1979 to $40.3 billion in 1990. In the same year, Canadian telecommunications companies reported more than $15 billion in revenues, accounting for an estimated 2.7 percent of the Gross Domestic Product (GDP). In addition, in 1990 the telecom industry achieved a real growth rate (after inflation) of 8.6 percent compared to 0.3 percent for the Canadian economy as a whole. Telecommunications is also Canada's leading high-technology industry; its Research and Development costs of $1.4 billion in 1990 represent about 24 percent of total expenditures in this area. This shows how telecommunications has come to play such a vital role in our society, in addition to being our most important high technology industry (Dept. of Communications, 1992, p9-12). Changes are constantly taking place in the telecom industry. These changes are caused by rapid progress in telecommunications technology, growing demand for new services, the globalization of trade and manufacturing operations, and increasing competition worldwide. It is also important to note that the Canadian telecommunications market of $15 billion is small compared to those of our major trading partners, the United States ($185 billion), the European Community ($125 billion) and Japan ($65 billion) (Blackwell, 1993, p26). These factors were a mounting source of pressure on the previous regulatory structure of the Canadian telecom system. As regulation was eased in other countries around the world, Canada was beginning to lose its competitiveness. The USA and Britain have made strategic decisions to increase competition in telecommunications services and to modernize their information infrastructures. Other countries such as Japan, Australia, and New Zealand are following their lead. The European Community is considering legislation to unify the European telecommunications market next year (Blackwell, 1993, p22). In order to not be left behind, Canada updated its telecommunications legislation to bring it in line with world developments. For example, a key piece of legislation that regulated telecommunications, the Railway Act, dated back to 1908 (Beatty, 1990, p135). Clearly, with such ancient legislation, new policy was required that would allow a more flexible regulatory system, and not hamper the development of our telecommunications industry (as the Railway Act did). The first steps toward such a policy were taken in 1987 by the Minister of Communications, who outlined three basic principles to guide telecommunications policy making: Maintaining a basic telephone service which is affordable and universally accessible; Encouraging development of an effective and efficient telecommunications infrastructure; and Permitting Canadians in all regions to have access to the same levels of competitive services (Beatty, 1990, p42). Bill C-62 - the Telecom Act, passed in June of 1993, brought these principals to reality. In addition, the legislation gave Canadian Parliament legislative authority over the principal telecommunications common carriers (i.e. Bell Canada, Alberta Gov't Telephone, BC-Tel) in Canada. The new legislation defines the powers of the federal government and the regulation that is required to bring Canada's telecommunications policy into the twenty-first century. It ensures the efficient operation of our telecommunications system, maintains and promotes and internationally competitive telecommunications industry, and guarantees all Canadians access to reliable, affordable, and high-quality services. In order to achieve this, the new law centres on two major principals: the first is to open the telecommunications market by having a workable policy for the whole country under the guidance of a single regulatory agency (i.e. the CRTC); the second is to establish a more flexible regulatory framework. The new legislation modernizes and improves the existing system in three ways: 1. By updating and modernizing existing legislation that governs telecommunications. Namely, the Railway Act, the National Telecommunications Powers and Procedures Act, and the Telegraphs Act. 2. By making a single agency responsible for regulating telecommunications, Authors: Bob Watson, Jane Watson, Co-Athors. Re: Article Notes, filmbay /log 3892f /logs IX31 2008 No rights reserved. n3t1crtc2

The topic of discussion in this paper is advertising in Canada. It will argue that the Canadian advertising industry strives to protect themselves from competition in the United States. The paper will discuss how the Canadian advertising industry allots their money to different forms of media to ward off the United States competition. Tracing the history of advertising from the early 1960’s to the present day, will help to show why Canada concentrates on the television and radio portion of the media. The paper will display the philosophy or reason behind their advertising, as well as the structure of their industry. The audience and the jobs and training that take place will also be examined to better understand the Canadian advertising industry. The external environmental factors such as technology, language, and the economy will also affect the advertising industry. This issue should be addressed to understand the importance of international competition and how it can affect or even control an industry. To better understand the advertising industry in Canada we need to look at some facts. The communication lines in Canada are expanding daily. These communication vehicles are how advertising is spread. The more Canada strives to be evident in the communication lines, the less influence the United States can have on the Canadian industry. There are 18.5 million telephone lines and 3 million cellular phones in use. There are 32.3 million radios in Canada and there are 535 AM stations and 53 FM stations. As of 1997 there was 80 television broadcast stations (with over 100 repeater stations) and 21.5 million televisions. In 1999 there was an estimated 750 Internet service providers (CASI). There are 120 daily newspapers, 108 are in English and the other 12 are in French (Pang). There are also seventy-five ethnic weekly papers published (Pang). Communication is part of the second largest service industry in Canada. With such a large country and such few people Canada relies on strong communication to tie people together. Canada was the first country to launch a communications satellite and has been in the forefront of developing communications technology. With more and more changes in technology, the government, and the economy Canada can communicate to all citizens in many ways, keeping the communication lines tight. CBC is Canada’s national radio and television service. It was developed in 1936 to help prevent the threat of American programming to dominate Canadian culture (Shepard). Canada has strived to keep their culture of Canadian decent. The United States and Canada have a very strong relationship because they share the longest undefended border in the world and are close allies as members of the North Atlantic Treaty organization (NATO). The United States is the largest investor in the Canadian industry and the largest market for Canadian trade. So Canada could be easily influenced or even controlled by the United States. The United States does tend to exploit its’ greater power and affect relations between the two countries. The function of advertising is to develop awareness and recall of a product or service that results in market increase. Canada uses all of the same mediums as the United States, to expose the consumer of products and services. In 1993 the gross advertising revenues for all media reached $9.0 billion. Newspaper advertising accounts for 26.8 percent of this total revenue. Radio and television make up 27 percent of the total. Catalogues and direct mail account for 21.8 percent, periodicals use 15.9 percent and outdoor and miscellaneous uses the remaining 8.5 percent (Strategies). (See pie chart) All of the advertising in Canada can be divided into two components, local and national advertising. Local advertising represents about sixty percent of all media (about $5.4 billion) (Strategies). This advertising is placed into the industry by a companies’ media representative and usually does not require the help of an advertising industry. National advertising accounts for the remaining forty percent of all the media (about $3.6 billion) (Strategies). This component is responsible for the revenues of the advertising agencies. Large businesses, which market their products worldwide, are a part of national advertising. Ad agencies coordinate the production, creation, and placement of the advertising. Television is the primary medium, but not exclusively. Print media such as direct mail, catalogues, magazines, newspapers, and radio are also vehicles used in national advertising. There isn’t one national newspaper or magazine for Canada because it is so large. This is the main reason why the Canadian advertising industry will spend more on broadcast media, such as television and radio. The CBC is a major broadcasting corporation of Canada. These vehicles have national broadcasts for the country (Grabowski). The consumer is able to listen to a station or watch a program or newscast that is nationally recognized and available. This type of media will reach a larger group of consumers. The structure of advertising in Canada is very important to understanding the industry. Canadian advertising agencies have restructured themselves to meet customers’ demanding needs. Agencies are becoming more productive by establishing separate subsidiaries that provide different services. They have developed separate departments to meet the individual needs of each company. There are fifteen top agencies in Canada and thirteen of them are foreign owned, compared to 1960 when only three of them were (CASI). This is because Canadian owned agencies are domestically oriented and are at a disadvantage in attracting international advertisers as clients, for a fear that they cannot produce results that are accepted internationally. Most Canadian firms handle the local or small accounts that are advertising primarily in the country. This directly affects the highest possible revenue a Canadian owned agency might get. The foreign owned agencies will therefore receive all of the top advertisers’ as clients. These will also bring in the highest revenues. U.S. owned advertising agencies have successfully operated in Canada, yet Canadians have not been able to successfully enter the U.S. market. This is a result of lack of knowledge of the United States market, insufficient client contacts, inadequate financial resources, and the inability to attract top personnel. FTA and NAFTA haven’t had a strong impact on daily operations as much as client sectors. The Canada-U.S. Free Trade Agreement and the North American Free Trade Agreement have only made relations between countries easier and clearer. The impact of free trade is affected by the client or general economy. Any economic increase will impact clients to use more money towards advertising and this will bring further business to advertising agencies. The structure of an agency will depend strongly on the economy. There are four main sub-sectors of the advertising industry. Advertising agencies create and publish advertising in the media. Media representatives sell time and space for media. Outdoor display and billboard advertising companies rent space for signs, billboards, and displays only. The final sector is other advertising services, which are firms that provide different services ranging from commercial art to copywriting. These sub sectors allow for higher rates to be placed on indivualized and special services (Strategies). The field of communication offers such a vast amount of jobs. There are many opportunities in this service field. The field of communications makes up eight percent of Canadian work (Pang). Canadians are able to be a large part of the communications field because the Canadian Radio-Television and Telecommunications Commission states that sixty percent of all programs must be written and performed by Canadians (Pang). This high percentage ensures Canadians will be a dominant figure in the creation of television and radio programs. The four sub-sectors of advertising allow for many jobs in the communications field, anything from photographers, copywriters, graphic artists, editors, publishers, account executives, and management or upper level positions. Depending on the agency you can make above average salary for your position if you work in a multinational agency. Multinational agencies can offer better salaries, working conditions and training, possibility of overseas postings. These factors also attract a more skilled employee. Canadian firms that are not multinational can offer these opportunities as well and they have the same quality employees as foreign owned agencies. The companies offer many of the same perks you would find at many U.S. agencies including benefits, company cars, free travel expenses and paid vacation. The Canadian human rights code states that employers must give their employees two weeks paid vacation (Shepard). The employees are also protected by labor laws that prohibit employers from letting employees work more than forty-eight hours per week. The minimum wage is frequently reviewed to determine whether or not changes need to be made because of the economy or inflation. The All Canadian Congress of Labor (A.C.C.L.) was established in 1927 and controls these labor regulations (Shepard). The Congress of Industrial Organization (CIO) and the Canadian Congress of Labor (CCL) also help regulate and control labor laws. There are 27 million people who live in the ten provinces and two territories of Canada. Sixty-two percent of the population is concentrated into Quebec and Ontario. Canada is a multicultural and a multiracial society where all aspects of culture are accepted (Grabowski). Canada is referred to as a “mosaic” because many cultures exist but they each retain their distinctive characteristics. This quality is very helpful in target marketing. This empowers agencies to concentrate on different cultures in a smaller area. It creates the possibility of reaching the people that are targeted by their culture or ethnicity. This can be extremely helpful when marketing and advertising. The growth in the advertising agency can be linked to technology that helps facilitate global marketing with global companies. The adoption of computer technologies has allowed for many changes to take place. Consumer monitoring, market segmentation, and consumer targeting are easily reached through the use of computers. The addition of the Internet has helped tremendously. After an agency designs the campaign they can easily send it to any location in Canada or any location anywhere in the world. Because consumers can be targeted more precisely and ideas can be created much more quickly sales can go up as a result of quicker development and more clients. The Internet and the electronic highway have created a demand by clients to be on the net. Companies now this is a new way to reach a large and affluent market. Authors: Bob Watson, Jane Watson, Co-Athors. Re: Article Notes, filmbay /log 3892f /logs IX31 2008 No rights reserved.1dq52